webslave

It's always so quaint when I see creatives arguing that AI is some sort of exceptional evil that we can 'fight back' against. When AI was first talked about as a 'thing' the claim was always that creatives would always be the last ones standing because it was unthinkable that a computer was going to be able to produce/create what some of them were capable of. The bit they didn't think about? Well, who do IT professionals hate dealing with the most? Usually creatives. They don't really empathize with the process, and typically find the stereotypically emotive interactions superfluous to the task. So, really, it's no surprise that's pretty much where they started. The reality for better or worse is AI is here. Pretending (or legislating) the idea that it isn't is a fools errand. Trying to lambast a business who has no specialisation in graphic design for using AI to assist them is pointless. At the end of the day if you're starting a YouTube channel and want a catchy tune to try and hook people at the start of the show are you going to turn to free/tens-of-dollars of AI to make your tune - likely at 2am in your boxer shorts overnight fuelled by Jack Daniels and imagination - or are you going to spend weeks going back and forth with a muso at the cost of several hundred dollars (if not more), particularly when you don't even know if your channel will be a hit? The answer is obvious. For better or worse this has shown that many creative pursuits for the vast majority of use cases are unprofitable in humans. That's a shame, but it's far from unprecedented. Many industries have been hit hard by automation. Some people really enjoyed planning holidays and worked as travel agents, but they're few and far between now. The elite ones still find a decent living, and if you enjoy it enough you can plan your own holidays to your heart's content. It's all well and good to talk about culture and soul, but that stuff is ultimately decided by who is going to put their hands into their own pockets. You don't want to do it for free, much more than anyone wants to pay for it any more.

I don't think it's a great plan to allow for stuff like early entry for pass holders. There's nothing worse than spending top dollar on a trip to a park somewhere in the world and knowing you're stuck waiting in line behind pass holders who could go any day. You want to find ways to encourage your pass holders to see value in attending on days where your attendance is soft, rather than providing them with enticements to visit when you're already struggling with throughput and capacity.

My notes from the video: Why do the baddies spend their entire first appearance soliciting applause? Was the flame projector effect that looked cheap and wholly separate from the practical fight scene worth having to put it at practically the furthest point away from the audience? The car v car scenes were very strange; who was meant to be chasing who? Very strange choreography near the start of the scene pre battle-rig; noticeable sections of time where there's nothing happening on the "stage". That battle rig looked impressive for around three seconds, but every second it spent on stage after that it looked worse and worse. The effects overall just didn't work for me. Came off as cheap and nasty. This for me is a minor improvement over the most recent HSD, but only barely. Not nearly funny enough, still mostly basic jumps, monos and circle work.

Yikes. At this point I'd just turn on the work lights in the disco room, because nobody is riding that and saying "yeah, that works for me".

"Eventually the process becomes the thing". Obviously their business school never taught them about process as proxy.

"Faster, safer and more convenient". Okay then.

It'll just be generic Canva crap. All the marketing girls are into it these days.

Eviction shows maybe, but the house has traditionally been flyaway.

I'm quite aware. The new Showtime is French. Either way, you still end up with a Showtime show.

I think you might need to read more than just the parts you want to read. It patently is Showtime.

We want you to be: - Experienced in live stunt shows (where would you be getting such experience in AU?). - Skilled in acting, improv, all-round stunts (the last two being mutually exclusive generally). - A mechanic. Should be plenty of applicants.

It's strange how you can complete maintenance of GL ahead of schedule when you're in a situation where another ride has gone down and presumably also requires people to spend time investigating it too.

Seems to me that VRTP seem to give them a bit of a free hand, because their stuff is so samey across multiple shows. Want a laugh? From their website: Lordy, lordy. Have mercy.

Showtime FMX is who runs the shows, and they seem like a bunch of revheads who only seem to make shows for themselves.