Category: film

The NSFW future of OnlyFans, where celebs, influencers, and sex workers post side by side

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Vex Ashley began working as a cam girl to pay her way through art school. Whatever reservations she had about being a “little weird goth kid” doing porn melted away as she met other performers online who also had a more alternative approach to mainstream adult content. “I thought that to do porn, you had to fit a very rigid stereotype,” Ashley says. “I never was interested in fitting into that mold.” Ashley wanted to infuse porn with a higher level of aesthetics and concepts, using it as a medium to explore ideas rather than purely for viewing pleasure. And if ever there was a tenet of the creator economy, it’s that niche interests can always find an audience. Ashley uploaded experimental videos to Tumblr and quickly gained a following that she took to Patreon in 2014 to better monetize her art and support her production company, Four Chambers . At the height of her success on Patreon, Ashley had more than 3,000 subscribers and was pulling in around $25,000 per month. But after the platform changed its policies in 2018, she effectively lost it all. Vex Ashley [Photo: courtesy of Four Chambers] Like many other adult content creators whose Patreon revenue was decimated, Ashley migrated to OnlyFans in 2018. And like many of her peers, she’s now wary of meeting the same fate on the platform. OnlyFans, which allows creators to charge users a monthly or pay-per-view fee to access content, launched in 2016 with the intention of being for all types of creators but has become a nexus for adult entertainment. Amateur and professionals alike have flocked to OnlyFans as a safe haven to monetize NSFW (not safe for work) content, becoming the key drivers of the platform’s early growth. The COVID-19 pandemic accelerated that momentum as more creators looked to OnlyFans as a source of income during record rates of unemployment. Between March and April of last year, OnlyFans experienced a 75% spike in new user and creator registrations. To date, OnlyFans has more than 120 million users and 1 million creators who have earned more than $3 billion collectively (the company takes a 20% cut). Read More …

The pernicious staying power of COVID-19’s first viral disinformation campaign

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This story is part of Doubting the Dose, a series that examines anti-vaccine sentiment and the role of misinformation in supercharging it.  Read more here . On a Monday in May, a now-infamous video titled “Plandemic” started to spread on social media. In a matter of days, millions of people had seen it. Media outlets devoted breathless attention to the conspiracy-laden film and its anti-mask, anti-vaccine, and anti-government agenda. It was not the first piece of disinformation about COVID-19, but it was perhaps the most potent. It also struck at just the right time. It was two months into the pandemic, and little was known yet about the virus. Americans were captive in their homes, searching the web for answers about a deadly disease. “Plandemic” offered a definitive storyline about COVID-19, when public health officials had unsatisfactory answers. The film took the opportunity to sow doubt in crucial figures such as National Institute of Allergy and Infectious Diseases chief Anthony Fauci and call into question mask wearing—one of the few available tools at the time to combat the spread of COVID-19. It was the best attempt yet to undo critical public health efforts underway and make Americans question government leadership. “Plandemic” was the first big wave in a rising tide of unquellable disinformation and misinformation about COVID-19. By the time the internet platforms we rely on to curate the web suppressed the video, it was already too late. It had reached nearly 10 million people across YouTube, Twitter, and Facebook by some estimates. Read More …

Disney put the brakes on going back to the movies. Here’s why

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For many months now, the much-anticipated Marvel movie Black Widow has sat boldly on the movie release calendar. Slated to come out in theaters on May 7, the film was a sign that Disney, the studio releasing the film, felt confident that the ebbing state of the pandemic meant that fans would swarm to see the film in-person, driving up box-office receipts. More than any other film set for release this year, Black Widow was a harbinger of better times ahead for the movie business, which has been severely crippled by COVID-19.   On Tuesday, Disney dashed those hopes.   The studio abruptly announced on March 23 that it was not only moving Black Widow back to July 9, but that it will be simultaneously releasing the film on its streaming service, Disney Plus, for an additional $30 for subscribers, as it’s done with films such as Mulan and Raya and the Last Dragon . Disney also said that Cruella , which stars Emma Stone as Cruella de Vil, will also get the day-and-date theatrical-streaming treatment, though the film will   remain on its original release date of May 28.   Other changes included pushing the next Pixar film, Luca , straight to streaming on June 18, and delaying films including the Ryan Reynolds comedy Free Guy and another Marvel film, Shang-Chi and the Legend of the Ten Rings .   The news was a major blow to the exhibition business (to put it mildly), as well as a sign that the world’s emergence from COVID-19 is slow, laborious, and prone to unforeseen shifts—such as the new strains of COVID-19 that are ravishing Europe at the moment, sending countries back into lockdown. This gradual, up-and-down emergence from the pandemic, as opposed to the quick, clean pivot everyone would love, is evident in current movie theater attendance. While recent releases like Tom and Jerry and Croods 2 have proven that there’s pent-up demand to get back into theaters, in the United States the reality is that only 52% of theaters are currently open. Those that are operating are doing so at between 25% and 50% capacity. Anecdotally, that means that parents who couldn’t wait to break out of the house and go see Raya and the Last Dragon with their kids last weekend in cities like Los Angeles, where vaccinations are moving along at a steady clip, found themselves in empty-feeling theaters that were nonetheless sold out. That’s great for audiences, safety-wise. But not so great for Disney looking at all that lost revenue. The fact that Raya was also on Disney Plus was a consolation for the studio, as it now will be with Black Widow . Read More …

17 moments in the long, turbulent history of vaccine skepticism

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This story is part of Doubting the Dose, a series that examines anti-vaccine sentiment and the role of misinformation in supercharging it.  Read more here . Quick—when did the epidemic of misinformation about vaccines begin? Was it when Jenny McCarthy took to The Oprah Winfrey Show in 2007 to claim that a vaccine caused her son’s autism? Or maybe when the anti-vax movement discovered that social networks such as Facebook and Twitter were a powerful way to amp their message and recruit new members to the cause? Try a little earlier than that—by more than two centuries. Shortly after Edward Jenner pioneered vaccination at the end of the 1700s, the movement against it began. Even earlier, vaccination’s precursor—known at the time as inoculation or variolation—inspired similar fear and misconceptions. Some of the specific arguments made against vaccines have evolved over the years. The means used to amplify them—from pamphlets to online videos—have changed even more. Read More …

Inside the new playbook for creating a kids’ TV hit in the streaming age

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When we think about the must-see TV that draws us to sign up for streaming platforms such as Netflix, Hulu, and Apple TV Plus, the list is endless. The Crown , The Handmaid’s Tale , Bridgerton , Ted Lasso . But what about kids’ shows? Sure, there are old episodes of Teenage Mutant Ninja Turtles and Pokémon , but there’s a gaping dearth of new, buzzy series with any real lasting power. (Does Netflix’s Miraculous: Tales of Lady Bug & Cat Noir really have a significant following?) Kids tune in to a new Netflix show here and there, but for the most part the platform’s real appeal for children is its sprawling, buffet atmosphere—and all those reruns. ( The Mandalorian over on Disney Plus is an exception, though that show skews heavily toward teens and adults too.) Cyma Zarghami , a veteran of children’s TV who spent 33 years at Nickelodeon, most recently as its president, sees this as white space in the industry, one that she is eager to fill. Last year Zarghami started MiMo Studios , a kids’ production company that aims to create the kind of franchises that have been lacking in the kids’ TV space in recent years in both the linear and digital worlds. “ SpongeBob [ SquarePants ], Peppa Pig , PJ Masks , those are all at least seven to eight years old,” Zarghami says, ticking off some of Nickelodeon’s biggest hits. “Nothing has emerged off the old platform or the new that’s really resonated with audiences.” Cyma Zarghami [Photo: MiMo Studios] As for why that is, Zarghami says, “There are too many choices, there’s not enough marketing, everything is a little derivative, and quantity, not quality, is the mandate”—especially in streaming. “So nothing has really floated to the top.” She also says that streaming companies’ priority is to grow subscribers and minimize churn, as opposed to “building the next Game of Thrones for kids.” At MiMo—which stands for “mini movie”—Zarghami hopes to do exactly that by investing in properties built on great, preexisting stories and characters that have the maximum potential to become a franchise. But the Hollywood formula ends there. Read More …