requested by me because i’m the only one who finds this funny
STORMPUFF THE FOXCHASER
Quite possibly the most unfriendly looking behind the scenes picture ever.
I can’t find the link, but I remember reading something about Joe arguing with Mallozzi about Sheppard not knowing there was an all female SG team under his command was disrespectful to his character and that Sheppard would know who were on what teams and that it was a hit to his character all for a stupid joke. Turns out Joe F. was right because the ‘joke’ fell flat and left fans perplexed at Sheppard lack of knowledge.
I could be misremembering though, so hello world at large please feel free to correct me.
I remember reading exactly the same thing!
Reading about Atlantis is a constant reminder of how much Mallozzi and Co screwed up by ignoring Joe. This is just one example, killing Weir is probably the biggest of them…
Joe fought them over the killing off Elizabeth and Carson as well. Joe has said at conventions this was about the time that they stopped telling him things - and so probably it’s close to the end of them stopping listening to him as well. It’s frustrating because at that point Joe was a lot more invested in the show than the actual show runners who were already planning out SGU.
Another problem Flanigan had with Mallozzi around this time was the issue of behind the scenes photographs. As you can see with this one, it has the MGM watermark. The actors’ contracts clearly stated that only MGM and SciFi had permission to take BTS photos and use them for promo purposes.
Mallozzi, however, had started taking photos of his own of the cast and crew and was posting them on his personal blog without their permission, without recompense, for his own benefit and profit, and in direct violation of the actors’ contracts.
Naturally, the cast and crew were upset about Mallozzi using these photos to drive traffic to his personal blog but no one really wanted to call him on it given that Mallozzi and Paul Mullie were co-executive producers and had been since Season 2 (during Season 1, they were consulting producers with Michael Greenburg and N. John Smith as Executive producers).
So cast and crew quietly asked Flanigan to speak to Mallozzi on their behalf. Whether they asked him because he was the union shop foreman, or the show’s star, or they thought he’d be the most persuasive is open to conjecture. They asked and Flanigan spoke to Mallozzi, who didn’t take it well at all.
He did stop taking photos on set without permission — he certainly never took another photo of Joe Flanigan — but when he did, and when he posted said photos to his blog, he made a point of saying (with truculent asides) that he had permission from the actors, that he wasn’t trying to profit from them, and (I’m paraphrasing here) wasn’t it sad that some people had to spoil the fun for everyone.
It was all downhill for Flanigan and Sheppard from there.
Yes, TPTB stopped listening to Flanigan, and Sheppard was not only disrespected as a character but virtually pushed aside throughout Season 5. Not just because of Universe but because Mallozzi held a grudge. It’s all there on his blog. I read it in real time and was appalled by Mallozzi’s childish behavior.
Mallozzi violated the actors’ contracts, got called on it, and took it out on the one person who said something to him, even though Flanigan was speaking for them all. Sad.
Well, damn. I’d forgotten about that. Does it make me a bad person that I am gleeful that Mallozzi and co. have, for the most part, found zero work in the entertainment industry since SGU went off the air?
This just adds to the pissoffedness I had when I found out that Joe F. had a group of investors and was trying to negotiate with MGM to do SGA. From what I’ve pieced together it was probably around the same time that Devilin and Emmerich were in meetings for their own Stargate movie reboot - and MGM decided to go with two failed producers. (Seriously, they have more misses than hits in their catalog.)
So now we’re sitting here with a dilemma. The reboot we never wanted. The reboot we were hoping for - with someone besides the old PTB at the helm. If the movie does badly does that put a kibosh on any more Stargate for the foreseeable future? If the movie does well does that mean we’ll just get more of the movies that completely ignore 17 years worth of television canon?
Someone smarter than me, which is pretty much anyone reading this, needs to explain to me what the best course of action is for fandom in general with this. Petitions aren’t going to do shit - I know that much. We’re pretty much guaranteed that MGM didn’t give the exclusive rights to the franchise to D&E - this is one of their biggest franchises and they’re going to hold on to it tightly. But what can we do to show MGM what we really want? It needs to be a concentrated effort and not spread out to include SG-1 and SGU because that’s just too much to ask for off the bat I would think. Specifics would be best I would imagine. But at the end of the day from MGM’s POV it’s all about the bottom line. Will it make money? That’s all they really care about. How do we go about, as a fandom, engaging the studio and revitalizing the fandom?
Wow. This reblogging of a picture because I was having private conversations with someone about “Whispers” really took off in a heavy yet delightfully unexpected way.
The thing is: it doesn’t matter if an SGA reboots makes money. MGM believes it won’t. Wright and Cooper had no faith in it. Mallozzi and Pullie had no faith in it. They had no faith in the fans.
"This is not the demographic we’re looking for." — Brad Wright, as he canceled SGA to make way for SGU.
They wanted the male 18-25 demo, the emo boy gamers in Mom’s basement. What they didn’t realize, what they still don’t realize, is that Mom’s the old school sci fi reader. Mom writes the fanfic. Mom has the money.
But they don’t know how to write to our demographic. They never did. They tried to put Amanda Tapping in a push-up bra and a tank top and she refused, thank whatever gods you chose. Because that’s how they write women: for men. For adolescent men. Not for women or people of color.
So, no, they won’t listen to us. That’s why the petitions didn’t work. That’s why email campaigns won’t work. We’re not the demographic they want, even though we’re the demographic with the money to spend, with the ability to invest, and the interest to do so. Nearly two decades of time, energy, and money later, and they still don’t get that their fan base is mostly women, 25 and up.
If they aren’t willing to hire female writers, listen to professional women storytellers, why the hell would they listen to us?
Which is just…ignoring the fact that the best shows, period, appeal to everyone. What makes Star Trek enduring, to me, is that it made you feel like you could dream to be any of the crew (and I’m not counting the reboot here). When SGA killed off Weir, they killed off a lot of my interest in the show because it said they didn’t want that character at all or anyone like her.
They don’t want us, because most of that stuff about being motivated by the bottom line and profits is just a cover story. What they really want is to do something that impresses their friends — and by “friends” I mean “powerful white men they *wish* were their friends”. It’s all, *all* about performing masculinity — and because our culture has a subtractive definition of masculinity, any interest by women automatically makes a thing (activity, art, posture, emotion, whatever) less masculine. So it’s *really important* to not just appeal to young men, but to drive away women, especially older women.
I have also heard it said that the reason the advertising industry focuses so relentlessly on males, especially younger males, is that they are suckers. They are more influenced by brands and ads than women are, and more likely to impulse buy.
Women are taught to shop — by our mothers, peers, and culture. It’s a skill we’re expected to practice and hone, to become canny consumers in a consumer culture. Because shopping skills are gendered feminine, being brand-loyal and impulsive becomes gendered masculine, which makes men even more prone to be suckers as consumers. And that means ads aimed at men are more likely to pay off.
Yeah, Mallozzi et al just. No. And the above doesn’t even really dig into the incredibly shitty behavior the SG producers displayed towards the female cast members. It touches on it a bit, but through the lens of how poorly Flannigan was treated. And I have to say that compared to his female coworkers and cast members, Flannigan got off LIGHT. Torri Higginson was flat out FIRED from a show where she was touted as the main female lead. Let me reiterate that: SHE WAS THE MAIN BILLED FEMALE LEAD. As for Rachel Lutrell, just. Her whole character (similar to Teal’c’s but her creation was at least 6+ years from when that character was laid out) was stupidly undefined and horribly underwritten. She was an ~alien leader~ and ~Sheppard’s love interest~ (I was there for that press, and YES THAT WAS HOW SHE WAS BILLED) and just. *shakes head*
Yeah, there’s a reason I check producer/writing credits on stuff that I’m interested in watching to make sure Mallozzi and Wright aren’t involved. Same with Brandon Braga. They have precedent for treating women like add-ons rather than characters, and I’m voting with my wallet against them. (And do we want to talk about how SGU pulled some seriously terrible sexual consent shenanigans, fans called them on it, and then those fans got blamed when the show didn’t continue because the producers thought they were butt-hurt from SGA being cancelled? Like, guys, PEOPLE ARE ALLOWED TO BE OFFENDED AND NOT LIKE YOUR THING AND NOT WATCH YOUR THING.)
Basically, this is poorly argued, but the SG Producers are toxic gross people and I’m glad they’ve not had work. Ugh, they are gross.
I’ve been watching what the Teen Wolf fans are going through with their show runner and the extremely bad public relations from the show and the network and it keeps running parallel with how awful Mallozzi was. And that was before social media exploded on the Internet. (Just imagine what SGA fandom would have been like if Tumblr had been around back in the day.)
Here’s an example from Mallozzi’s April 29, 2007 blog entry regarding Higginson’s termination and Tapping being shunted over to SGA:
Anonymous #5 writes: “So you have no problem with an equally capabale (or possibly more capable) actress being out of work so TPTB can keep their golden child in the franchise?”
Answer: I’ve already made it perfectly clear that the decision to bring Carter aboard was in no way connected to the decision regarding Weir. Nevertheless, feel free to cling to whatever wild, unsubstantiated theory makes you feel all warm, tingly and, oh yeah, superior.
Seriously, that’s not the worst thing he’s said to fans when engaging them on his website.
The man is an unmitigated ass.
Okay, so the silent communication we all love about Derek and Stiles? What if the Sheriff had the same thing with his wife? And, like, now that he knows Derek is an upstanding citizen and everything, he invites Derek over for dinner.
It’s not that the Sheriff is looking for it, but he can’t help but notice the way that Derek and Stiles communicate without words; how they anticipate each other’s moves; how Derek picks the onions off the pizza and hands them to Stiles and Stiles gives Derek his olives.
And now that the Sheriff has seen it, he looks for it each time Derek and Stiles are in the same room, and it happens every single time.
He can’t help but be reminded about how he and Claudia were; how she’d look at him over Stiles’ head at dinner and he’d know exactly what she was thinking; the times they’d cook together and not even need to talk as they passed ingredients to each other.
And the Sheriff doesn’t mind this, whatever it is Stiles and Derek are treading carefully around. He’s seen the way Derek lightens up whenever Stiles squishes up against him on the couch; the way Stiles’ cheeks flush when Derek compliments a plan he has, and he’s not exactly unaware of the fact that the couch has picked up a few wolf hairs lately.
So he gives them a gentle nudge; gets Derek over for dinner and then fakes a remembrance of a meeting he’s missing, insists Derek should stay. He heads over to the station and spends a while doing supernatural cover up paperwork with Parrish.
When he comes home, Derek and Stiles are on the couch with equally flushed cheeks and the Sheriff doesn’t even want to think about the fact that his kid seems to have stubble burn.
But they’re happy and content, and that’s all the Sheriff wants for Stiles. To have someone the way he had Claudia. The way Claudia had him. He’s pretty sure that Stiles has found that with Derek.
Exploring fandom, social media, and producer/fan interactions: An interview with Sleepy Hollow ‘s Orlando Jones
I know that I talk a lot on here and on Twitter about how much I love Orlando Jones and I don’t often give receipts.
If ever you questioned my admiration for this man, if ever you wondered why, let this interview be my answer.
From the way he talks about fandom:
“Fandom is finding a community of like-minded enthusiasts that vibrates at your same frequency. It’s great to love something, but when you find other people who share that love in its purest expression and you can talk for hours about plot theories, or ships, or the general excitement about being moved to feel based on a creative work—that’s intoxicating.”
“This is the place where the disenfranchised and the marginalized have a voice, where they can express their dissatisfaction with the status quo and demand a more concerted effort by the media establishment to improve diversity, to expand beyond tropes, idioms, and stereotypes.”
To the way he admits his own shortcomings:
“This past year I learned a lot about the subtle differences in engagement between the platforms (Facebook, Twitter, Tumblr) in ways I didn’t fully comprehend before. In the past I had a tendency to cut and paste my social messaging so that it could be streamlined/turnkey, but I came to appreciate the need for customized interaction that is appropriate to each audience cohort.”
“I have learned the importance (and value) of being more precise in my language.”
But specifically, I’d like to express my gratitude towards these two quotes in particular:
“I fully expect to make additional missteps in the future, which I will attempt to navigate with sincerity and candor.”
“It’s still a learning process but I’m enjoying the discovery.”
Orlando does not make the same mistake that others have in the past, where they think they understand fandom as a whole but continually and carelessly step on our toes.
He not only admits to his mistakes, he understands that he’ll probably make more in the future and it’s something he hopes to learn from.
This is the way the fourth wall should be broken; with respect and with the attitude that you don’t know everything about fans and fan spaces.
I also think this particular answer, in regards to people trying to dictate what he says in his own space, is important: “I respectfully reject the premise that there are (or should be) any limitations to what I can tweet about. If people don’t like it or disagree they have the ability to opt out. If they choose to follow, then the implied contract is that they take the good with the bad. And if there is some exception to the position I just espoused, I suppose we’ll cross that tweet when we come to it.”
Following someone does not give you some implicit right to tell them what to do; you don’t get to dictate what they say and more importantly, you don’t get to tell them what not to say.
If the bad outweighs the good, well then. The unfollow button was created for a reason.
Orlando Jones is respectful towards fans but he also won’t let you bully him into silence or push him out of fandom. He’s a celebrity but he’s a fan, too, and every fan who wants it has a place in fandom, no matter what their job is.
that’s like 85% of Sterek Fanfiction
and why i love sterek
So fucking cute!
She is adorable! I can almost feel the Mischief!
A wooden door stuffed with cocaine
Frogs in a film canister
Cocaine disguised as candy
Cats filled with opium
Snake in a clay pot
A gecko in a false book
A metric ton of marijuana as a donkey
A METRIC TON OF WEED
Talk about a drug mule
My dad once brought two pythons from Colombia to the USA (or vice versa, can’t remember) by putting one in a sock in his carry-on and the other on top of his head, under his hat. This would’ve been back in the late 70s/early 80s, I believe.
It was a very different time.