Hollywood Gets Caught

Grateful Smiles by Mitch Santell

Earlier this morning I was a guest on The Zeph Daniel Report. It was a lovely interview, and I think you’ll enjoy the gentle flow of our banter as it relates to the current state of Hollywood.

zeph daniel color
Zeph Daniel of The Zeph Report

Since 2002 The Zeph Report has been putting out spiritual and geopolitical podcasts and prophetic reports across multiple media platforms including world wide shortwave and satellite radio.

The style is raw audio, the moment inspiration hits. Controversial, the truth is oftentimes brutal, and calls for change… in thinking, in consciousness itself.

Dedicated to the Creator of all things, the Zeph Report was inspired by a revelation from YHWH to Zeph Daniel in 2001, and has been on the air ever since.

Find Zeph at Spreaker now: https://www.spreaker.com/show/zeph-report-podcasts


By Zeph E. Daniel (http://www.zephnet.com)
http://educate-yourself.org/cn/endtimesprogramming23oct04.shtml
October 23, 2004

[Editor’s Note: Zeph Daniel is a victim of satanic ritual abuse and Illuminati mind control programming. He was born into a powerful and influential Hollywood family and was subjected to the typical horrendous abuse from a very early age that most victims of Illuminati programming are forced to endure. He broke through his programming in 2000 and credits his unwavering devotion to God and Jesus as the lifelines which rescued him from the abyss. You can read more details of his incredible journey on Zeph’s web site. This article deals with a subject that needs to be faced squarely by devote and honest Christians everywhere on this planet, but especially here in the United States: the apocalyptic, End Times scenario that is being hammered into the minds and hearts of fundamentalist Christians across this nation is a set up. If you take the time to read a book written by William Bramley called The Gods of Eden, you will find that the same End Times scenario, the same script, and the same cast of characters, has been used before-many times before.

Self satisfied people often respond emotionally (and irrationally) to information that they cannot handle intellectually or objectively because of pre-conditioning (remember the earth used to be”flat” at one time and everyone just knew it to be true). If you possess a fundamentalist perspective and find yourself becoming upset and angry with the information presented below, then you have to honestly question yourself and ask: am I a victim of mind conditioning too? Words cannot harm you and if you cannot consider the merits of a presentation without going bananas, then you have a problem, dear friend, not the author of this article. Remember, truth will always find a way to surface and that which is false cannot sustain itself indefinitely…Ken]

 

 

More Roseanne Barr Blow Back & Tim Allen Reboot of Last Man Standing

Further Reflections by Mitch Santell

roseanne not a racist 2018
Roseanne Barr is Fighting Back!

There are more insights and updates coming out in regards to the collapse of The Roseanne Barr show that was just canned by ABC TELL-LIE-VISION.

Disney says no to Roseanne Barr 2018
The Number #1 Show Is Now Off The Air

Roseanne Barr went into meltdown on Twitter overnight on Tuesday as she retweeted a stream of abusive, controversial and doctored material after her show was cancelled over her racist remarks about Valerie Jarrett.

The star of America’s top TV show also last night blamed Ambien for saying Jarrett looked like the lovechild of the ‘Muslim Brotherhood and Planet of the Apes’ before saying she also ‘mistakenly thought she [Jarrett] was white’.

Among hundreds of retweets Barr reposted comments including an image of Jarrett’s face next to a character from Planet of the Apes, a fake tweet claiming Jarrett had said she wanted to make America more Islamic, and a doctored image of Whoopie Goldberg wearing a t-shirt of Donald Trump shooting himself in the head.

The stream of retweets came alongside dozens of tweets from Barr herself, in which she apologized for her first racist comments, blamed sleeping drug Ambien and claimed she thought the target of her racist Twitter rant was white.

Read more here: https://dailym.ai/2J3BsS4

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Steve Job’s iPhone Turned America Into A Dystopian Atomized Society

Comments on iPhone Cloning of Humanity by Mitch Santell

The change is very subtle but you notice it still the same. What is it? The darting of eyes in the supermarket here in America as patrons (we call them guests), decide if they should pass you on the left or on the right.

aa fall fashion 4
Dystopian & Atomized America

The reason that most people don’t know is that the level of wireless wi-fi and radiation coming off portable smartphone devices, plus the cloning off of your thinking skills is enough to take for one person.

In atomization, the subcultural mode’s local communities cannot hold together, because they no longer deliver adequate meaning. The subcultural solution to the problems of self and society—intermediate-scale subsocieties that buffer individuals from national institutions—failed.

Instead, society moves onto global interactive media. Internet social networks support larger, geographically dispersed virtual communities. You no longer need to be in the happening place to get access to a genre or scene. You may not know the gender, race, or nationality of some of your closest friends. It is wonderful to find people who share your nearly-unique interests—but can online relationships replace in-person ones? Can electronic communities provide the same benefits as local ones?

The vestiges of systematic social organization are crumbling. As culture and society atomize, it becomes impossible to maintain a coherent ideology. Religions decohere into vague “spirituality,” and political isms give way to bizarre, transient, reality-impaired online movements. Decontextualized, contradictory, intensely-proclaimed religious and political “beliefs” displace legacy systems of meaning. These are not beliefs in an ordinary sense, but advertisements of personal qualities and tribal identification. The atomized mode generates paranoia, because without the systematic mode’s “therefores,” its structure of justification, there are no memetic defenses against bad ideas.

Read more here: http://bit.ly/2sqpHy5


Technology divides us more than anything else. The more I read and observe, the more I am convinced of this.

Dystopia is everywhere. No longer just a narrative form in the vein of 1984 or Soylent Green, the very word is seeping into our daily news and culture, invoked as readily in the pubs of London as the checkpoints of Gaza. Far from “an imagined … society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic,” dystopia is now used to describe Facebook, Brexit, biometric data, militancy, antibiotic resistance, and HQ Trivia.

A 2017 article in the Nation summed up a great deal of liberal feelings about the current political climate: “With the election of an uber-narcissist incapable of distinguishing between fact and fantasy, all the dystopian nightmares that had gathered like storm clouds on the horizon—nuclear war, climate change, a clash of civilizations—suddenly moved overhead.”

Of course, the Western political and economic upheavals of the past few years are about as dystopian as a party balloon next to the reality of life in, say, North Korea, whose government sums up the rights of its citizens with a simple phrase—“One for all and all for one”—better known in the West for a book that is probably not discussed much in Pyongyang. Like Stalinist Russia and Nazi Germany before it, the totalitarian oppression of the DPRK feels so remote that it becomes almost pantomime. The hysterical weeping of party officials at the death of Kim Jong-il and the assassination of Kim Jong-un’s defector brother, with the killers allegedly told it was part of a “prank” show, feel closer to fiction than fact—stories to be marvelled at, rather than profound human truths. Propaganda and history collide, blurring the lines between fiction and reality; as these lines move, so does our cultural understanding of dystopia.

More here: https://slate.me/2so2Djj

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Netflix is Blowing Hollywood’s Mind

Reflections on Hollywood Studio fall out by Mitch Santell

Netflix as a company that has the strength, financial backing, and corporate culture to take down the current Hollywood Studio System as we know it! How do I know this? This is the 4th or 5th time that Hollywood has had to confront its own shortcomings.

Netflix can change game plans much faster than a regular studio. The most recent example of this was the new season of Arrested Development. Season 4 which had mixed reviews by fans and critics alike was literally re-mixed, re-edited by Mitchell Hurwitz the Executive Producer (Writer and sometimes Director of the show).

Arrested Development 2018
Jeffrey Tambor (L) with Arrested Development Exec Prod Mitchell Hurwitz (R)

Not only did Mitchell Hurwitz have the integrity to Re-Edit Season 4 on Netflix just days before the release of Season 5, even though Jeffrey Tambor was “accused” of “sexual misconduct,” Mr. Hurwitz did not punish Tambor or the series. 

According to the Associated Press:

LOS ANGELES — The creator and executive producer of “Arrested Development” acknowledges that some people will not like his decision to keep Jeffrey Tambor on the show after allegations of sexual misconduct surfaced last October.

“Good people will find this offensive,” explained Mitchell Hurwitz. “I, too, get worked up when I hear about Harvey Weinstein and other people who have taken advantage of people. But I also believe very strongly that we don’t want to live in a world where accusations ruin people’s lives. We have tried that as a human race and it doesn’t always, doesn’t work out great, you know? So accusations are very different than proof and, you know, we obviously are going to support people that haven’t done, that haven’t been proved guilty.”

Hurwitz said production was nearly wrapped on season five when news broke of the allegations made by Tambor’s former assistant and an actress on his other show, “Transparent.”

“Not only do I support him as a friend, but I’ve known him for 20 years. I’ve worked with him for 20 years and I’ve never seen any behavior like that described. I’ve never, even in private, he’s never been in any way inappropriate about, we don’t talk about women or objectify. It’s just not who he is, and he’s got a lot of things that I’d like to list, a lot of really bad qualities I’d like to list for you now, but nowhere in there, in my experience, is any kind of creep,” said Hurwitz.

The “Arrested Development” cast unanimously supported the 73-year-old actor at the Los Angeles premiere Thursday for the cult comedy’s new season. The event also marked one of the first public appearances for Tambor in recent months. Tambor posed for photos with his wife, Kasia Ostlun, but didn’t do interviews with the press.

“We are a family and it’s great to have everybody in the family here,” said co-star Will Arnett.

See more here: https://nydn.us/2GBRdhf

#hollywood #oldhollywood #netflix #bollywood #westhollywood #arresteddevelopment

A Founder’s Thoughts with D.J. Lewis: The Fall of Blockbuster! — D&A Anime Blog

Wow, it’s been five years since the once great video rental store giant went belly up. I’m talking about Blockbuster, one of the best video rental stores in North America (as well as across the world). Back when I was growing up in southeast Baltimore County (Baltimore, MD) my mother would take my brother and […]

via A Founder’s Thoughts with D.J. Lewis: The Fall of Blockbuster! — D&A Anime Blog

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Netflix Doesn’t Need Hollywood Anymore

Written by Mitch Santell

netflix

The shift started in 2013 with the premiere of House of Cards. Netflix, in my opinion, does not need Hollywood anymore nor does the company care what Hollywood thinks.

Some will say that Netflix is just producing big-budget Tell-Lie-Vision shows. My take? There is something much bigger happening. Think of Netflix as the Apple, Inc. of streaming. Why do I think that? Answer: Apple listens to its customers, and it would appear that Netflix is doing the same thing.

My experience of Netflix on a Mac or a PC is substantially better than my Apple TV not because Apple TV does not work, it is the interface. It is the fact that Netflix has incorporated their algorithm into everything that you watch on their service.

netflix buster
“Buster, He’s A Beautiful Boy!” 

Check out what I found:

Netflix vs. Cannes: Will the Company’s Original Content Succeed Without Hollywood Approval?

For those who haven’t browsed the Netflix catalog recently, the streaming service has taken a page from Hollywood studios and dived headlong into the production and distribution game. Its name is on titles with big stars like Adam Sandler and Will Smith — these stream alongside the company’s popular TV series like Stranger Things and Lost in Space.

It’s important for Hollywood studios to project an air of prestige around their more ambitious projects, and events like Cannes also provide gobs of free publicity. But the tussle between Cannes and Netflix arose from a recent change in the festival’s rules. A new regulation mandates that for a film to play in competition, it must have theatrical distribution in France.

That’s a tough one for Netflix, as French law stipulates there has to be at least a three-year gap between a film’s theatrical run and its debut in home entertainment such as streaming services. Almost needless to say, that’s a no-go for a company whose success relies on streaming content.

The screen goes dark

For those who haven’t browsed the Netflix catalog recently, the streaming service has taken a page from Hollywood studios and dived headlong into the production and distribution game. Its name is on titles with big stars like Adam Sandler and Will Smith — these stream alongside the company’s popular TV series like Stranger Things and Lost in Space.

It’s important for Hollywood studios to project an air of prestige around their more ambitious projects, and events like Cannes also provide gobs of free publicity. But the tussle between Cannes and Netflix arose from a recent change in the festival’s rules. A new regulation mandates that for a film to play in competition, it must have theatrical distribution in France.

That’s a tough one for Netflix, as French law stipulates there has to be at least a three-year gap between a film’s theatrical run and its debut in home entertainment such as streaming services. Almost needless to say, that’s a no-go for a company whose success relies on streaming content.

In reaction to the festival’s new rule, Netflix withdrew the five titles it planned to unveil at Cannes. Since then, the two sides have had few positive words for each other.

Read more here: http://bit.ly/2IKjmrf

netflix yes

Living room vs. movie theater

The dispute benefits neither party. It makes the festival look reactionary and old-fashioned in a film and entertainment world that’s rapidly changing. And Netflix appears to be playing the role of intolerant Silicon Valley disruptor — our way is the future, and if you’re not on board, forget you.

In its movie-making efforts, Netflix has fewer allies. That’s no surprise, given its insistence on debuting its feature films in theaters and on the streaming site simultaneously (its big-budget fantasy action movie Bright was to open in a grand total of two cinemas in the U.S.).

Read more here: http://bit.ly/2IKjmrf

Yes, I said yes! Netflix is onto something big and we all know it.

netflix more
Shall we binge watch a series?

If the miss the old days of going to a Movie Theater, here is a little reminder.

Hollywood Shift ~ Streaming Economy

Commentary by Mitch Santell

From 1913 until 2013 the traditional Hollywood system ruled the industry. Now, the old studio system was gone by 1960, but there were definite lines between the film studios, the film executives, the distributors and the marketing companies.

The technology is there, access to the market it more natural and there is a lot of talent you can call upon if you have VISION and FOCUS.

Everyone is now getting into the content creation business. It is getting more and more confusing as to who the leading content creators will be in the future.

It is not just that Netflix along with Amazon Prime, HBO, Lifetime and others are creating their original content, it is that these technology companies know how to use SEO, Algorithms, and the big elephant in the room; Streaming.

100 Million Prime
Amazon is creating original content and then STREAMING IT!

According to NICK BILTON:

When Netflix started creating its own content, in 2013, it shook the industry. The scariest part for entertainment executives wasn’t simply that Netflix was shooting and bankrolling TV and film projects, essentially rendering irrelevant the line between the two. (Indeed, what’s a movie without a theater? Or a show that comes available in a set of a dozen episodes?) The real threat was that Netflix was doing it all with the power of computing. Soon after House of Cards’ remarkable debut, the late David Carr presciently noted in the Times, “The spooky part . . . ? Executives at the company knew it would be a hit before anyone shouted ‘action.’ Big bets are now being informed by Big Data.”

When I first read the above paragraph it blew my mind but then Nick Bilton hit on an even more significant issue:

Hollywood executives may invoke their unique skills, but engineers are unlikely to see things quite that way. We generally assume that artificial intelligence poses a risk to lower-skilled jobs, such as trucking or driving cabs. But the reality is that the creative class will not be unharmed by software and artificial intelligence. Researchers at M.I.T.’s Computer Science and Artificial Intelligence Laboratory are looking at ways to teach computers how to corral information so as to perceive occurrences before they even happen. At present, this application anticipates events that will move markets, or monitors security cameras to help emergency responders before something tragic occurs.

The most prominent bombshell was this prediction:

Kim Libreri, who spent years in the film industry working on special effects for films such as The Matrix and Star Wars, predicts that by 2022 graphics will be so advanced that they will be “indistinguishable from reality.” In some respects, that is already on the verge of happening. If you watched Rogue One, you will have noticed that Peter Cushing appeared as one of the main actors in the film, which was shot last year in London. Cushing, who died in 1994, was (mostly) rendered in C.G.I. The same was true for Princess Leia, played by the late Carrie Fisher, who has a cameo at the end. The C.G.I.-enhanced version of herself hasn’t aged a day since 1977. “While stars used to be able to make a movie, now they can hurt it,” one Hollywood producer lamented to me. His outlook resembled Moritz’s: “The movie star, like everything else in Hollywood, is dying.”

Read more here: http://bit.ly/2J8n6zm

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#netflix #hbo #apple #google #wired #paramount #warnerbrothers #metoo