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What States Can And Can't Do When Banning Abortion


What States Can and Can't Do When Banning Abortion


What States Can and Can't Do When Banning Abortion

For more information about your reproductive health rights and related federal resources, you can visit the US government's

Reproductive Rights

site.

Whether someone can get an abortion or related medical procedure mostly hinges on which state they live in after the Supreme Court overturned Roe v. Wade last month and ended the constitutional right to abortion. But the switch from federal protection to state law isn't straightforward and has led to confusion and misinformation on what pregnant patients and physicians can do.

In this still developing landscape, how confident can people be that their treatment is still legal?

"The answer to all your questions is 'Who the heck knows,'" said Dr. Louise Perkins King, a surgeon and bioethicist at Harvard Medical School. "And that's the problem."

The US Department of Health and Human Services issued guidance on July 11 reminding physicians of their responsibilities under the existing Emergency Medical Treatment and Labor Act, or EMTLA, which supports the need to treat and stabilize patients in an emergency, including pregnant patients who may require an abortion. Days later, Texas sued the Biden administration over the law, which allows for medical assistance to save the life of the mother, because, Texas Attorney General Ken Paxton said, it "seeks to transform every emergency room in the country into a walk-in abortion clinic." 

On Tuesday, a judge in Texas blocked the EMTLA guidance, so physicians in that state may no longer be protected by federal law if they perform an abortion when they deem it medically necessary but it falls outside of Texas' interpretation of a life-endangering pregnancy. Physicians nationwide who are members of the American Association of Pro-Life Gynecologists and Obstetricians or the Christian Medical and Dental Association are also exempt -- a total of about 18,000 health care providers, according to the court document.

Texas' new trigger law -- which will be in effect on Aug. 25 -- bans all abortions except when the pregnancy puts the mother "at risk of death or poses a serious risk of substantial impairment of a major bodily function." Physicians who perform an illegal abortion will be committing a felony. It doesn't make exceptions for rape, incest or fetal abnormalities, and it also doesn't make an exception for when the pregnant person's risk of death would come from a "claim or diagnosis" that they'll be hurt or might die in the future. (This could be interpreted to mean a doctor can't provide an abortion if a woman threatens to die by suicide because she has depression.) All abortions are currently banned in Texas after the state's Supreme Court ruled that a law from the 1920s could stand.

Legal battles within some states will continue to shape post-Roe America, with the landscape changing by the day. And lawsuits like the one in Texas clarify the country's stance on whether state law preempts federal rule on abortion or reproductive health care. Basically, can federal regulations trump state law? 

"There's going to be cases that are going to have to determine this question," I. Glenn Cohen, a professor and bioethicist at Harvard Law School, said. 

The argument over medication abortion access -- which is banned or restricted in many states but still available to people if they order it (not without risk) online -- will likely also be one of the first big court cases post-Roe, Cohen said. Questions of whether federal regulations on medication abortion conflict directly enough with state restrictions will continue to be center stage.

Boxes of mifepristone and a bottle of misoprostol tablets sit on a table

Medication abortion, for use in early pregnancy, accounts for more than half of abortions in the US. Restricting the pills is the new frontier of abortion bans.

Robyn Beck/Getty Images

Other federal guidance issued by the Biden administration includes a reminder to pharmacists that they are required to fill medication and birth control prescriptions for patients. Failing to do so is discrimination based on pregnancy status. This was in response to the many reports of women having treatment delayed or prescriptions denied while health care workers try to  navigate around new state laws.

Here's what we know today.

Can states ban abortion pills? Not completely, but some are trying. 

Any state with a current total ban on abortion -- including Texas, Oklahoma, South Dakota, Alabama, Arkansas, Mississippi, Missouri and Wisconsin -- also bans medication abortion. Heavy restrictions in other states, including Tennessee and South Carolina, which ban abortion after about six weeks, also extend to medication abortion. This means providers can't prescribe the medication in those states and patients can't fill prescriptions at pharmacies.  

"If a state law bans abortion broadly, that includes medication abortions," Elisabeth Smith, director of state policy and advocacy at the Center for Reproductive Rights, told MedPage Today.

But abortion bans and state laws seek to punish abortion providers or people who assist them, not the person seeking the abortion (there's reason to believe this might change in the future). For now, people living in the most restrictive states can still order pills from an overseas pharmacy, including Aid Access. However, the pills could take awhile to arrive and potentially put the person past the point of pregnancy for which the medication is safe and effective (about 10 weeks).

Pill packet on a yellow envelope marked
Peter Dazeley/Getty Images

The fate of medication abortion pills in Republican-leaning states centers on mifepristone, the first pill given in the two-dose regimen of medication abortion. Because the US Food and Drug Administration approved mifepristone as a safe and effective way to end a pregnancy over 20 years ago, states shouldn't be able to restrict it, the US attorney general's office argued the same day Roe was overturned. (Misoprostol, the second pill, is used off-label for abortion and miscarriage treatment. It's also used to treat health conditions such as stomach ulcers.) 

Whether this federal regulation (and the FDA's stamp of approval) supersedes state laws will need to be decided. Cohen said this is likely to be determined by the Supreme Court as "one of the first post-Dobbs cases."

"It's unclear whether that's going to be a winner of an argument, to be perfectly honest," Cohen said.

Last year, the FDA extended a pandemic-era rule that allowed patients to get medication abortion pills through the mail, instead of requiring them to be prescribed in person. This was seen as a victory for the American College of Obstetricians and Gynecologists and other medical groups, which viewed the in-person requirement as unnecessary for a medication that's safe and effective in early pregnancy.   

But states have their own requirements for medication abortion, and providers licensed in Montana can't prescribe pills to patients who travel over from a restrictive state like South Dakota, NPR reported.

Read more: Worries About Post-Roe Data Privacy Put Spotlight on Period Apps  

A woman holds her abdomen in pain

Ectopic pregnancies can't result in a delivery and require medical treatment. Symptoms can start with typical pregnancy signs, including a missed period, but can progress to abdominal or pelvic pain, vaginal bleeding, weakness and more. 

Svetlana Gustova/Getty Images

Can states ban treatment for high risk pregnancies? The HHS says no, but doctors say state laws are restricting care.  

Even though the most restrictive states banning abortions leave room for some degree of medical emergency, practicing physicians need to decide where the medical emergency line is – and risk prosecution if a state sees it differently. 

This month, the story of a 10-year-old girl who was raped and pregnant and who traveled to Indiana from Ohio, where abortion is banned around six weeks without exception for rape or incest, made headlines. Not only was the physician publicly questioned by Indiana's attorney general on whether she followed state law, but Ohio Attorney General Dave Yost said in the aftermath that the girl should've been able to legally get an abortion under the state law's medical emergency exemption. Ohio's OB-GYNs disagreed. 

"It states specifically 'medically diagnosed condition,' and as far as I can tell, adolescent pregnancy is not a medically diagnosed condition that's listed," Dr. Jason Sayat, a Columbus OB-GYN, told the Ohio Capital Journal. 

The Department of Health and Human Services reminded physicians and hospitals that if they want to keep their Medicare agreement and avoid "civil penalties," they must treat pregnant patients and provide abortions if necessary as required under the 1986 Emergency Medical Treatment and Labor Act. The EMTLA, now blocked in Texas, outlines certain life-endangering pregnancies that doctors must treat regardless of state law, including ectopic pregnancies, preeclampsia and complications of pregnancy loss.

But that narrow line of abortion exceptions for medical emergencies given by states like Wisconsin is what's troubling Dr. Jennifer McIntosh, a maternal-fetal medicine physician practicing in the state. While Wisconsin's attorney general said he wouldn't enforce a ban, physicians there stopped performing abortions because the state has a pre-Roe criminal statute that prohibits most abortions. The "save the life of the mother" abortion exception language in that law can leave out health conditions which may not be an immediate emergency but can become one down the line. 

"Some of what we do is to prevent emergencies from happening," McIntosh said. "To have to wait for an emergency to actually appear puts your patient's life at risk."

The treatment for an ectopic pregnancy is termination, because terminating the pregnancy is the only safe outcome when an embryo grows outside of the uterus, typically in a fallopian tube. Without treatment, the fallopian tube is likely to rupture, which can lead to internal bleeding and death. But some laws, like one in Texas, specifically restrict medications including methotrexate, which has led to access problems for people who are pregnant as well as people who are taking methotrexate for another health reason. 

Complicating confusion and risk over how abortion bans will affect treatments for ectopic pregnancies is the fact that more rare types of ectopic pregnancies exist, including ones where the pregnancy is growing inside a C-section scar or other area outside the safety of the main cavity of the uterus -- but still technically in the uterus. These rarer kinds of ectopic pregnancies are also life-threatening, and may be more difficult to diagnose and treat as such in a state that bans abortions with an emphasis on the pregnancy being in the uterus.

Activists on both sides of the abortion issue protest outside the US Supreme Court in 2020
Saul Loeb/AFP/Getty Images

States are not prosecuting people who have abortions (yet)

Current state laws -- both those in effect and those in limbo in court -- prosecute other people involved in an abortion, not the person who's pregnant. 

But the health impact may be already felt when a doctor is hesitant to treat patients, or pharmacists are reluctant to fill a prescription for mifepristone before interviewing a woman to ascertain whether her pregnancy is already ended and her situation is in line with state law.

"Even in these straightforward cases of basic OB/GYN practice, the laws leave providers questioning and afraid," Dr. Carley Zeal, an OB-GYN in Wisconsin, told The New York Times. "These laws are already hurting my patients."

Aside from hesitancy among health care providers, physicians also fear that worries people have about being prosecuted for having an abortion or miscarriage will stop patients experiencing complications from any kind of pregnancy loss from seeking care. 

That's because it was already happening, before Roe was overturned. According to the National Advocates for Pregnant Women, there were over 1,700 arrests or prosecutions of women from 1973 (when Roe became law) to 2020 where their pregnancies were the focus of the case against them. 

So will doctors report you if they suspect you had an abortion? 

"The vast majority of health care professionals will not do that, because that's not caring for their patients," King said. But, she added, "I'm sure there's a very small, but unfortunately detrimental, minority who might." 

An illustration of a woman's body surrounded by medical equipment

Your current access to birth control shouldn't be impacted by the overturn of Roe v. Wade. However, there's reason to believe that could change in the future.

Carol Yepes/Getty Images

Birth control is still protected under the Affordable Care Act

Right now, IUDs, birth control pills and other birth control methods are legal in all 50 states. And they should also be covered at no out-of-pocket cost for those covered under the Affordable Care Act. The right to birth control is protected under two Supreme Court rulings: Griswold v. Connecticut (1965) and Eisenstadt v. Baird. (Another Supreme Court Case, Burwell v. Hobby Lobby Stores, chipped away a little of that protection, however, finding that some corporations are exempt for religious reasons.) 

Plan B or "morning after pill" brands are also not included in abortion bans, because they will not end an existing pregnancy. Most health plans should also cover them. 

Legislators in Missouri last year voted to block taxpayer funding for IUDs and emergency contraception, casting doubt that all birth control devices will be protected indefinitely, at least in some states. The claims of legislators like Paul Wieland, a Republican state senator in Missouri, are that anything that has the potential to disrupt a fertilized egg's implantation into the uterus is an abortifacient. 

The medical community has been clear that IUDs and emergency contraception do not cause abortions and will not end an existing pregnancy. Copper IUDs work mostly by causing a chemical change in the sperm and egg before they meet, according to the World Health Organization. Hormonal IUDs like Mirena work mostly by thickening cervical mucus so sperm can't reach the egg, and can also prevent ovulation. Plan B and similar pills likely won't work if a person has already ovulated, meaning the chances of it stopping implantation are currently understood to be slim.

Nevertheless, unlikely occurrences or instances where a fertilized egg may be prevented from implanting into a uterus could be called into question in future court cases.

Read more: Could a Post Roe v. Wade World Impact Your Access to Birth Control?   

The information contained in this article is for educational and informational purposes only and is not intended as health or medical advice. Always consult a physician or other qualified health provider regarding any questions you may have about a medical condition or health objectives.


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TikTok Parents Are Taking Advantage Of Their Kids. It Needs To Stop


TikTok Parents Are Taking Advantage of Their Kids. It Needs to Stop


TikTok Parents Are Taking Advantage of Their Kids. It Needs to Stop

Rachel Barkman's son started accurately identifying different species of mushroom at the age of 2. Together they'd go out into the mossy woods near her home in Vancouver and forage. When it came to occasionally sharing in her TikTok videos her son's enthusiasm and skill for picking mushrooms, she didn't think twice about it -- they captured a few cute moments, and many of her 350,000-plus followers seemed to like it.

That was until last winter, when a female stranger approached them in the forest, bent down and addressed her son, then 3, by name and asked if he could show her some mushrooms. 

"I immediately went cold at the realization that I had equipped complete strangers with knowledge of my son that puts him at risk," Barkman said in an interview this past June. 

This incident, combined with research into the dangers of sharing too much, made her reevaluate her son's presence online. Starting at the beginning of this year, she vowed not to feature his face in future content. 

"My decision was fueled by a desire to protect my son, but also to protect and respect his identity and privacy, because he has a right to choose the way he is shown to the world," she said.

These kinds of dangers have cropped up alongside the rise in child influencers, such as 10-year-old Ryan Kaji of Ryan's World, who has almost 33 million subscribers, with various estimates putting his net worth in the multiple tens of millions of dollars. Increasingly, brands are looking to use smaller, more niche, micro- and nano-influencers, developing popular accounts on Instagram, TikTok and YouTube to reach their audiences. And amid this influencer gold rush there's a strong incentive for parents, many of whom are sharing photos and videos of their kids online anyway, to get in on the action. 

The increase in the number of parents who manage accounts for their kids -- child influencers' parents are often referred to as "sharents" -- opens the door to exploitation or other dangers. With almost no industry guardrails in place, these parents find themselves in an unregulated wild west. They're the only arbiters of how much exposure their children get, how much work their kids do, and what happens to money earned through any content they feature in.

Instagram didn't respond to multiple requests for comment about whether it takes any steps to safeguard child influencers. A representative for TikTok said the company has a zero-tolerance approach to sexual exploitation and pointed to policies to protect accounts of users under the age of 16. But these policies don't apply to parents posting with or on behalf of their children. YouTube didn't immediately respond to a request for comment.

"When parents share about their children online, they act as both the gatekeeper -- the one tasked with protecting a child's personal information -- and as the gate opener," said Stacey Steinberg, a professor of law at the University of Florida and author of the book Growing Up Shared. As the gate opener, "they benefit, gaining both social and possibly financial capital by their online disclosures."

The reality is that some parents neglect the gatekeeping and leave the gate wide open for any internet stranger to walk through unchecked. And walk through they do.

Meet the sharents

Mollie is an aspiring dancer and model with an Instagram following of 122,000 people. Her age is ambiguous but she could be anywhere from 11-13, meaning it's unlikely she's old enough to meet the social media platform's minimum age requirement. Her account is managed by her father, Chris, whose own account is linked in her bio, bringing things in line with Instagram's policy. (Chris didn't respond to a request for comment.)

You don't have to travel far on Instagram to discover accounts such as Mollie's, where grown men openly leer at preteen girls. Public-facing, parent-run accounts dedicated to dancers and gymnasts -- who are under the age of 13 and too young to have accounts of their own -- number in the thousands. (To protect privacy, we've chosen not to identify Mollie, which isn't her real name, or any other minors who haven't already appeared in the media.)

Parents use these accounts, which can have tens of thousands or hundreds of thousands of followers, to raise their daughters' profiles by posting photos of them posing and demonstrating their flexibility in bikinis and leotards. The comment sections are often flooded with sexualized remarks. A single, ugly word appeared under one group shot of several young girls in bikinis: "orgy."

Some parents try to contain the damage by limiting comments on posts that attract too much attention. The parent running one dancer account took a break from regular scheduling to post a pastel-hued graphic reminding other parents to review their followers regularly. "After seeing multiple stories and posts from dance photographers we admire about cleaning up followers, I decided to spend time cleaning," read the caption. "I was shocked at how many creeps got through as followers."

But "cleaning up" means engaging in a never-ending game of whack-a-mole to keep unwanted followers at bay, and it ignores the fact that you don't need to be following a public account to view the posts. Photos of children are regularly reposted on fan or aggregator accounts, over which parents have no control, and they can also be served up through hashtags or through Instagram's discovery algorithms.

The simple truth is that publicly posted content is anyone's for the taking. "Once public engagement happens, it is very hard, if not impossible, to really put meaningful boundaries around it," said Leah Plunkett, author of the book Sharenthood and a member of the faculty at Harvard Law School.

This concern is at the heart of the current drama concerning the TikTok account @wren.eleanor. Wren is an adorable blonde 3-year-old girl, and the account, which has 17.3 million followers, is managed by her mother, Jacquelyn, who posts videos almost exclusively of her child. 

Concerned onlookers have pointed Jacquelyn toward comments that appear to be predatory, and have warned her that videos in which Wren is in a bathing suit, pretending to insert a tampon, or eating various foodstuffs have more watches, likes and saves than other content. They claim her reluctance to stop posting in spite of their warnings demonstrates she's prioritizing the income from her account over Wren's safety. Jacquelyn didn't respond to several requests for comment.

Last year, the FBI ran a campaign in which it estimated that there were 500,000 predators online every day -- and that's just in the US. Right now, across social platforms, we're seeing the growth of digital marketplaces that hinge on child exploitation, said Plunkett. She doesn't want to tell other parents what to do, she added, but she wants them to be aware that there's "a very real, very pressing threat that even innocent content that they put up about their children is very likely to be repurposed and find its way into those marketplaces."

Naivete vs. exploitation

When parent influencers started out in the world of blogging over a decade ago, the industry wasn't exploitative in the same way it is today, said Crystal Abidin, an academic from Curtin University who specializes in internet cultures. When you trace the child influencer industry back to its roots, what you find is parents, usually mothers, reaching out to one another to connect. "It first came from a place of care among these parent influencers," she said.

Over time, the industry shifted, centering on children more and more as advertising dollars flowed in and new marketplaces formed. 

Education about the risks hasn't caught up, which is why people like Sarah Adams, a Vancouver mom who runs the TikTok account @mom.uncharted, have taken it upon themselves to raise the flag on those risks. "My ultimate goal is just have parents pause and reflect on the state of sharenting right now," she said. 

But as Mom Uncharted, Adams is also part of a wider unofficial and informal watchdog group of internet moms and child safety experts shedding light on the often disturbing way in which some parents are, sometimes knowingly, exploiting their children online.

The troubling behavior uncovered by Adams and others suggests there's more than naivete at play -- specifically when parents sign up for and advertise services that let people buy "exclusive" or "VIP" access to content featuring their children.

Some parent-run social media accounts that Adams has found linked out to a site called SelectSets, which lets the parents sell photo sets of their children. One account offered sets with titles such as "2 little princesses." SelectSets has described the service as "a classy and professional" option for influencers to monetize content, allowing them to "avoid the stigma often associated with other platforms."

Over the last few weeks, SelectSets has gone offline and no owner could be traced for comment.

In addition to selling photos, many parent-run dancer accounts, Mollie's included, allow strangers to send the dancers swimwear and underwear from the dancers' Amazon wish lists, or money to "sponsor" them to "realize their dream" or support them on their "journeys."

While there's nothing technically illegal about anything these parents are doing, they're placing their children in a gray area that's not explicitly sexual but that many people would consider to be sexualized. The business model of using an Amazon wish list is one commonly embraced by online sugar babies who accept money and gifts from older men.

"Our Conditions of Use and Sale make clear that users of Amazon Services must be 18 or older or accompanied by a parent or guardian," said an Amazon spokesperson in a statement. "In rare cases where we are made aware that an account has been opened by a minor without permission, we close the account."

Adams says it's unlikely to be other 11-year-olds sending their pocket money to these girls so they attend their next bikini modeling shoot. "Who the fuck do you think is tipping these kids?" she said. "It's predators who are liking the way you exploit your child and giving them all the content they need."

Turning points

Plunkett distinguishes between parents who are casually sharing content that features their kids and parents who are sharing for profit, an activity she describes as "commercial sharenting." 

"You are taking your child, or in some cases, your broader family's private or intimate moments, and sharing them digitally, in the hope of having some kind of current or future financial benefit," she said.

No matter the parent's hopes or intentions, any time children appear in public-facing social media content, that content has the potential to go viral, and when it does, parents have a choice to either lean in and monetize it or try to rein it in.

During Abidin's research -- in which she follows the changing activities of the same influencers over time -- she's found that many influencer parents reach a turning point. It can be triggered by something as simple as other children at school being aware of their child's celebrity or their child not enjoying it anymore, or as serious as being involved in a car chase while trying to escape fans (an occurrence recounted to Abidin by one of her research subjects). 

One influencer, Katy Rose Pritchard, who has almost 92,000 Instagram followers, decided to stop showing her children's faces on social media this year after she discovered they were being used to create role-playing accounts. People had taken photos of her children that she'd posted and used them to create fictional profiles of children for personal gratification, which she said in a post made her feel "violated."

All these examples highlight the different kinds of threats sharents are exposing their children to. Plunkett describes three "buckets" of risk tied to publicly sharing content online. The first and perhaps most obvious are risks involving criminal and/or dangerous behavior, posing a direct threat to the child. 

The second are indirect risks, where content posted featuring children can be taken, reused, analyzed or repurposed by people with nefarious motives. Consequences include anything from bullying to harming future job prospects to millions of people having access to children's medical information -- a common trope on YouTube is a video with a melodramatic title and thumbnail involving a child's trip to the hospital, in which influencer parents with sick kids will document their health journeys in blow-by-blow detail.

The third set of risks are probably the least talked about, but they involve potential harm to a child's sense of self. If you're a child influencer, how you see yourself as a person and your ability to develop into an adult is "going to be shaped and in some instances impeded by the fact that your parents are creating this public performance persona for you," said Plunkett.

Often children won't be aware of what this public persona looks like to the audience and how it's being interpreted. They may not even be aware it exists. But at some point, as happened with Barkman, the private world in which content is created and the public world in which it's consumed will inevitably collide. At that point, the child will be thrust into the position of confronting the persona that's been created for them.

"As kids get older, they naturally want to define themselves on their own terms, and if parents have overshared about them in public spaces, that can be difficult, as many will already have notions about who that child is or what that child may like," said Steinberg. "These notions, of course, may be incorrect. And some children may value privacy and wish their life stories were theirs -- not their parents -- to tell."

Savannah and Cole LaBrant with daughter Everleigh

Savannah and Cole LaBrant have documented nearly everything about their children's lives.

Jim Spellman/WireImage

This aspect of having their real-life stories made public is a key factor distinguishing children working in social media from children working in the professional entertainment industry, who usually play fictional roles. Many children who will become teens and adults in the next couple of decades will have to reckon with the fact that their parents put their most vulnerable moments on the internet for the world to see -- their meltdowns, their humiliation, their most personal moments. 

One influencer family, the LaBrants, were forced to issue a public apology in 2019 after they played an April Fools' Day Joke on their 6-year-old daughter Everleigh. The family pretended they were giving her dog away, eliciting tears throughout the video. As a result, many viewers felt that her parents, Sav and Cole, had inflicted unnecessary distress on her.

In the past few months, parents who film their children during meltdowns to demonstrate how to calm them down have found themselves the subject of ire on parenting Subreddits. Their critics argue that it's unfair to post content of children when they're at their most vulnerable, as it shows a lack of respect for a child's right to privacy.

Privacy-centric parenting

Even the staunchest advocates of child privacy know and understand the parental instinct of wanting to share their children's cuteness and talent with the world. "Our kids are the things usually we're the most proud of, the most excited about," said Adams. "It is normal to want to show them off and be proud of them."

When Adams started her account two years ago, she said her views were seen as more polarizing. But increasingly people seem to relate and share her concerns. Most of these are "average parents," naive to the risks they're exposing their kids to, but some are "commercial sharents" too.

Even though they don't always see eye to eye, the private conversations she's had with parents of children (she doesn't publicly call out anyone) with massive social media presences have been civil and productive. "I hope it opens more parents' eyes to the reality of the situation, because frankly this is all just a large social experiment," she said. "And it's being done on our kids. And that just doesn't seem like a good idea."

For Barkman, it's been "surprisingly easy, and hugely beneficial" to stop sharing content about her son. She's more present, and focuses only on capturing memories she wants to keep for herself.

"When motherhood is all consuming, it sometimes feels like that's all you have to offer, so I completely understand how we have slid into oversharing our children," she said. "It's a huge chunk of our identity and our hearts."

But Barkman recognizes the reality of the situation, which is that she doesn't know who's viewing her content and that she can't rely on tech platforms to protect her son. "We are raising a generation of children who have their entire lives broadcast online, and the newness of social media means we don't have much data on the impacts of that reality on children," she said. "I feel better acting with caution and letting my son have his privacy so that he can decide how he wants to be perceived by the world when he's ready and able."


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'The Rings Of Power': All The Tolkien Terminology You Need To Know


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'The Rings of Power': All the Tolkien Terminology You Need to Know


'The Rings of Power': All the Tolkien Terminology You Need to Know

There's a reason folks who know a ton about the works of JRR Tolkien are often referred to as scholars. Watching The Lord of the Rings and The Hobbit is the tip of a genuinely massive iceberg, which is why a lot of people who enjoyed the films are a little confused about what's happening in all of the trailers for the upcoming Amazon series The Rings of Power

But don't panic! You don't need to read an epic tome or watch 20 hours of Extended Editions to appreciate this new series when it comes to Amazon Prime Video on Sept. 2. Armed with whatever you remember from the last time you watched The Lord of the Rings and this quick terminology guide, you'll be prepared to enjoy this series without feeling terribly lost at these words you've never heard used in the movies before.

The Second Age

The Rings of Power takes place before what you've seen in The Lord of the Rings and The Hobbit, but not like 10 years back like you might see in lots of other prequel stories. The Rings of Power takes place thousands of years before the events of The Hobbit, during a period of time referred to as the Second Age. In this world, large segments of time are separated by major global events. For example, the scene at the end of The Lord of the Rings where everyone gets on those boats and sails away marks the end of The Third Age.

One of the cool things about The Rings of Power telling a story in the Second Age is that we'll get to see characters we've only previously experienced through legend and flashback, as well as ancient characters from the movies when they were young. Elves live impossibly long lives unless they are murdered, so in this series there will be character names we've heard before like Galadriel and Elrond and Isildur but much, much younger versions of the people we've already met. 

Harfoots (pronounced har-foots)

A small humanoid character called a Harfoot

One of the Harfoots, a race seen in The Rings of Power and ancestor of Hobbits.

Amazon Prime Video

You may have noticed in all of the trailers for The Rings of Power there are no Hobbits, at least not as you'd recognize them from the movies. There's a very good reason for this: Hobbits don't exist yet! Where Elves, Dwarves, and even Men of The Second Age live long lives and accomplish great deeds, the ancestors of Hobbits have lifespans much closer to an average human here in the real world. That means their evolution happens much faster than the other races of Middle-earth, and what we will see in The Rings of Power are one of the ancestors of Third Age Hobbits, known in this time as Harfoots. 

Unlike the Stoors and Fallohides, which are other races that eventually come together with Harfoots to become Hobbits, the little folk we will see in Rings of Power are nomadic gatherers. They live off the land, with a more earthy and natural look to their clothing and behavior. A few of these Harfoots have been spotted in the trailers already, complete with the tell-tale hairy feet and shorter stature. Unlike Third Age Hobbits, Tolkien described many Harfoots as being darker skinned and are on average smaller than the characters you already know. 

Expect Harfoots to play a pivotal role in this series, even if they don't get as much screen time as the films' Hobbits.

Silvan Elves (pronounced sil-vn)

Arondir's wooden armor and fabric cloak on an all-black mannequin

Arondir's armor from The Rings of Power, on display at San Diego Comic Con 2022

Katie Aiani

One of the coolest costumes seen in trailers for The Rings of Power so far belongs to the character Arondir, who is not mentioned in any of JRR Tolkien's works. Arondir was created as a new character out of necessity; the race he represents is mentioned several times across Tolkien's works but never given the same kind of attention as many of the other races in Middle-earth. 

Arondir is a Silvan Elf, and according to Tolkien these elves are separated from the others and scattered across multiple worlds. Those who made it to Middle-earth have a deep connection to nature, which is why you see Arondir in a wooden breastplate with a tree spirit or Green Man carved into it. What survives of Silvan Elves in the Second Age become part of Lorien, the area of Middle-earth we see Galadriel as ruler of in The Lord of the Rings. 

Outside of looking very cool, Arondir and other Silvan Elves we see will be unique and stand out quite a bit from the Elves of this time.

Valinor (pronounced vali-nor)

A cloaked figure staring at Valinor in The Rings of Power

The first image Amazon Prime Video shared from The Rings of Power was a still shot of Valinor with the two trees still alive. 

Amazon Prime Video

The Elves you have seen across all of Tolkien's movies -- and soon this TV series -- live in Middle-earth, but they are not from Middle-earth. The Elves as we see them migrated to Middle-earth from a place called Valinor, a massive land with multiple cities and its own separate constructs of time and life. The way Elves and other creatures of Valinor lived while there is wildly different from the way they live in Middle-earth. 

Elves left Valinor and came to Middle-earth because they had no choice: The two trees that allowed life to exist in Valinor were destroyed by a giant spider called Ungoliant and another being called Morgoth. Ungoliant would later give birth to the giant spider Shelob, who nearly kills Bilbo and Frodo in their respective stories. Morgoth passes his darkness to his pupil Sauron, who changes his name to Annatar when he went into hiding from those chasing the remnants of Morgoths army.

Valinor would eventually become a place Elves wish to return to, which you see at the end of The Lord of the Rings: Return of the King. The ships Bilbo, Frodo and other board at the end of the movie are traveling back to Valinor. Being allowed to return home before that point was considered a great honor, so when it's mentioned you will usually hear it in a grand context.

NĆŗmenor (pronounced noo-menor)

A massive statue above the kingdom of NĆŗmenor

From a trailer for The Rings of Power, the first shot of the kingdom of NĆŗmenor

Amazon Prime Video

We've seen the massive white city of Gondor and the far-reaching lands of the horse lords called Rohan, but there was another Kingdom of Men where Aragorn's ancestors came from called NĆŗmenor. This massive star-shaped island was home to Men who lived much longer than most of their contemporaries and could build lasting relationships with Elves and Dwarves. Like Aragorn, many of the people from this island were gifted fighters and great leaders.

The Men of NĆŗmenor aren't quite like the men of the rest of Middle-Earth. They live quite a bit longer thanks to their ancestry, which frequently leads to them being treated as something different from someone you would meet in Middle-earth proper. Most Men of this era have never been to NĆŗmenor, let alone recognize it as somehow ruling all Men of the era. 

Since this is the biggest kingdom of Men in the Second Age, there's a good chance a significant amount of this show will take place in NĆŗmenor. 

Khazad-dƻm (pronounced k'hah-zahd-doom)

Elrond staring out at the vastness of the underground city made by the Dwarves

Elrond and a Dwarf walking through the underground city of Khazad-dƻm in The Rings of Power.

Amazon Prime Video

Most folks only know the kingdom of the Dwarves as a tomb and home to an angry Balrog who loses a fight with Gandalf. In The Lord of the Rings, we know this massive underground city as Moria, but in the Second Age it was also known as Khazad-dĆ»m. 

Unlike the scattered, separated version of the Dwarves we see in The Hobbit and The Lord of the Rings, we're going to see Dwarves in their prime throughout The Rings of Power. This is before the Arkenstone and the incident with Smaug, and before the Balrog is awakened in Moria. (All of that happens in the Third Age.) Instead, we're going to see Durin and his kin as master crafters with political agency and hopefully a will to work with the other peoples of Middle-earth. 

And, unfortunately, we will probably also see whatever leads these proud people to retreat fully into their mountain. 

Lindon (pronounced lin-don)

The edge of Lindon, an Elven city in The Rings of Power
Amazon Prime Video

Middle-earth is a big place, and at this point in the world's history there are a lot of Elvish territories that currently don't look like the ethereal land Galadriel rules or the civilized kingdom Elrond presides over in the movies. Before Lothlorien and Rivendell there was Lindon, ruled by High King Gil-galad. During most of the Second Age, Elrond actually works for Gil-galad as his herald because he is not yet considered a high-ranking Elf.

Lindon is, for most Elves, the harbor used to travel to either NĆŗmenor or Valinor depending on your purpose. It's a protected harbor and in many ways the space used for the army Gil-galad sends to fight Morgoth. For the purpose of this series, it's likely Lindon will be considered the political seat of power for the Elves. And because it's an Elven city, you can expect it to be staggeringly beautiful.

Eregion (pronounced eh-reh-gee-on)

Lord Celebrimbor, thinking about making some powerful rings probably.

Celebrimbor, lord of Eregion in The Rings of Power.

Amazon Prime Video

While Lindon is the seat of political power for the Elves, it's not where the action will likely take place during The Rings of Power. That honor will almost assuredly go to the Elf-controlled region in the western part of Middle-earth called Eregion at this time. Eregion is located a short distance from both Khazad-dĆ»m and what will later be known as Mordor, which means it's close to our cool Dwarven characters and nicely located for battle scenes against Sauron's army of orcs. 

While Gil-galad is High King of all Elves, Eregion is led by Celebrimbor. As a descendant of Feanor, creator of the Silmarils (we'll get into those next), Celebrimbor has an unceasing desire to create something of real value for the peoples of Middle-earth. In the books, Celebrimbor and the other artists of his realm are guided by Annatar to make The Great Rings for all the kingdoms of Middle-earth. 

As you probably know, that doesn't go super well for everyone and takes a few thousand years plus a couple of Hobbits to fully deal with.

Silmarils (pronounced sil-mar-ils)

Three orbs embedded in a gold and silver dagger, representing the three Silmarils

A representation of the three Silmarils embedded in Galadriel's dagger.

Amazon Prime Video

A common misunderstanding about The Rings of Power is that it will be based on stories told in The Silmarillion. As Amazon was unable to secure the rights to use The Silmarillion to craft the stories in The Rings of Power, the actual source material being used will instead be the Appendices in The Lord of The Rings. It's worth noting these pages contain a ton of the timeline elaborated upon in The Silmarillion, including three jewels called the Silmarils. These are powerful magic stones created from the power within the two trees that kept Valinor alive. Instead of using those stones to restore the trees that Ungoliant and Morgoth destroyed, the stones were stolen by Morgoth and embedded in his crown to make him more powerful. 

When Morgoth is eventually defeated during The First Age, the Silmarils remained behind while the Elves traveled to Middle-earth because they were too powerful to hold and drove otherwise reasonable people to lust for power. You can see a nod to the three Silmarils on Galadriel's ornamental dagger, and it will likely be a major point of discussion before Annatar becomes Sauron and forges the rings of power to give to all the leaders of Middle-earth.

While the creation of the rings will obviously be the focus of this series, the Silmarils which came before them are likely to be mentioned quite a bit in this series. 


Source

Marvel's VFX Artists Are Suffering -- And Starting To Speak Out


Marvel s vfx artists are suffering and starting to speak out meaning marvel s vfx artists are suffering and glory marvel s vfx artists are driven marvel s vfx artists are here to disturb marvel s vfx artists are furious at webtoon marvel s vfx artists are people marvel s vfx artists react
Marvel's VFX Artists Are Suffering -- and Starting to Speak Out


Marvel's VFX Artists Are Suffering -- and Starting to Speak Out

Thor: Love and Thunder  director Taika Waititi makes interviews look fun. During the long and often tedious press tour filmmakers endure to promote their latest films, Waititi brought his trademark laid-back goofiness to a video in which he breaks down a scene. Only, this time, it backfired. Almost offhandedly, Waititi questioned whether a character named Korg, a CGI rock creature he also played, looked "real." "Do I need to be more blue?" he asked.

The comment launched headlines. Waititi, the director, appeared to cruelly mock his own film's VFX work -- work painstakingly toiled over across hundreds of hours by visual effects artists. It got worse. At the same time, severalReddit threads surfaced, charting the harsh experiences of effects artists who worked on Marvel projects as far back as 2012.

Chris Hemsworth and Taika Waititi in suits standing in front of a poster for Thor: Love and Thunder

Chris Hemsworth and Taika Waititi at the Sydney premiere of Thor: Love And Thunder.

Photo by Lisa Maree Williams/Getty Images

"Working on Marvel projects ends up being incredibly stressful, and this is a widely known issue throughout the VFX industry, it's not specific to any one VFX house," a person who worked on Marvel projects and wished to remain anonymous, told CNET via email. Industry standards dictate a strict policy of not speaking to the press.

Marvel and Disney didn't immediately respond to a request for comment.

Visual effects artists are in more demand than ever, servicing abundant productions from Marvel, Warner Bros., Sony and more. VFX studios secure work by placing a bid based on the number of shots a studio requests. Competition can be aggressive. While a low bid might win, the actual workload the shots amount to can vary dramatically.

"You bid on a number of shots and hope that on average they don't end up being too complicated or difficult, or that the client gets too caught up in minor details and keeps sending shots back for more work," said Peter Allen, an animator and VFX artist and former lecturer in film and television production at the University of Melbourne.

The work is contracted to a VFX house at a set price. An effects artist might manage grueling hours to meet hard release dates but work overtime unpaid. If the final product fails to satisfy audience expectations, VFX artists often take the blame.

"As a visual medium, visual effects are among the easiest targets for fans to pick apart, especially if there are leaks or early releases of unfinished shots," Allen said. Cats and Sonic the Hedgehog are recent examples.

She-Hulk, looking perturbed

The upcoming She-Hulk has already drawn criticism for the CGI look of its hero.

Marvel Studios/Screenshot by CNET

With an avalanche of new projects lined up in the next phases of the Marvel Cinematic Universe -- a seemingly never-ending stream of content -- effects artists have been coming under intensifying strain. Ms. Marvel, She-Hulk and Thor: Love and Thunder are the latest to weather criticism about underwhelming superpower effects.

But now, the artists vital to Marvel's storytelling are speaking out. Sick of bearing the brunt of visual effects criticism, tired of punishing working conditions, VFX artists are demanding change.

Unless the industry can make fundamental improvements, Marvel could have a problem on its hands.

An infamous client

Even before the public Reddit threads, insider stories and viral tweets, Marvel had a reputation for pushing VFX artists to the brink. Forget 38-hour weeks. One source described working 60 to 80. This lasted "multiple months in a row."

The toll was brutal. "I've had to comfort people crying at their desks late at night from the sheer pressure involved, and routinely had colleagues call me having anxiety attacks," the effects artist said. "I've heard personally from many artists that they ask to avoid Marvel shows in their future assignments."

Another VFX artist, who also wished to remain anonymous, described harsh conditions that extended beyond the Marvel machine.

"I have worked on several projects for Marvel and other tentpole films," the effects artist told CNET. "For many years, I did work long hours, mostly unpaid. No longer. At no time do I work for free, nor will I work an all-nighter for a perceived emergency."

Some kind of magical realm in Marvel's Doctor Strange in the Multiverse of Madness.

Sequences underwent late changes in Doctor Strange in the Multiverse of Madness.

Marvel Studios

One effects artists boils Marvel's problems down to three major issues: a demand to see near-complete work much earlier in the process compared to other clients; high-pressure environments leading to burnout and low morale; and lower budgets squeezing out more experienced, more expensive workers from future Marvel projects.

Even after shots are exhaustively delivered, Marvel is allegedly "infamous" for requesting "tons of different variations" until one earns the green light. It doesn't end there. More changes to a production often come late in the game, potentially weeks out from release, resulting in an endemic practice of working overtime. The latest Doctor Strange flick, for example, underwent late changes to sequences involving VFX.

"We've literally made up entire third acts of a film, a month before release, because the director didn't know what they wanted," one source said about Marvel in general. "Even Marvel's parent Disney is much easier to work with on their live-action films."

Could VFX houses push back? Not if they want to risk financial loss. In 2013, Rhythm & Hues, the acclaimed VFX house that worked on The Lord of the Rings and Life of Pi -- which won the Oscar for best visual effects -- filed for bankruptcy. It was the last major independent VFX studio in Los Angeles. Moving Picture Company, an effects house that worked on Spider-Man: No Way Home, reportedly announced in July that it would be freezing pay rises this year.

Marvel, providing a seemingly endless source of work, is a lucrative client. "Marvel has multiple blockbusters in a row, and studios that displease them risk losing out on tons of work," said one effects artist. "So they don't push back as much as they would with other clients."

The size of Marvel allows it to secure bargain effects work, to "string along" a studio or move on to the next best bidder. Yet, for some, working on Marvel projects is no different from any other big action film. It's about managing expectations.

Pi and a tiger on a boat

The VFX studio behind Oscar-winning Life of Pi went bankrupt.

Fox 2000 Pictures

Balance

Not all VFX gigs are an overwhelming slog. Not even with Marvel.

"My experience working on the one Marvel film was pretty much the same as any other film," another artist told CNET. They said that, while the workload was high, the deadlines "were the same as any other action film."

Another VFX artist believes the onus is on the effects houses to stand up for their workers, to "pay overtime" and "manage expectations," both with clients and artists.

"The blame is on the VFX studios, not the client -- Marvel or otherwise."

Yet less established VFX houses might lack the influence to shield artists from the "crazy" schedules Marvel could impose. One solution to this power dynamic has already started to unfold.

A decade ago, visual effects artists were part of one of the "largest non-unionized sectors in showbiz," according to a Variety report. Since then, VFX unions such as the International Alliance of Theatrical Stage Employees have attempted to organize visual effects artists.

"Employees unionizing would dramatically change how VFX houses bid shows because they can't simply dump the poor choices onto their employees," one effects artist said. "It makes sure employees can't be pushed around as easily."

Animation artists, for example, can unionize in their respective workplaces with the help of the Animation Guild. The organization acts as an advocate for its members over wage disputes and more between employees and employers. Major studios such as Dreamworks and Walt Disney Animation Studios -- as well as Marvel Animation -- employ artists covered by the guild.

The time could be right for making unionization happen for effects artists, VFX artist Allen said. "Right now, there's high demand for staff so there is an unusual opportunity for those staff to organize since production companies really need them."

But this solution isn't as easy as snapping one's fingers. Outsourcing, or using ununionized workers, is another way for studios to cut costs. "Many studios will bring in people on work visas with the promise of long-term employment," one effects artist said. The studios then leave the employee "dangling."

Still, signs could be positive for effects artists. Other production workers, including staff in IT and logistics, have been successful in joining the Animation Guild, which "used to be for artists only," Allen says. For VFX professionals, traditionally viewed as craftworkers rather than artists, this could be an "interesting development."

"But individual workplaces have to agree to unionize, it's not an automatic protection for all workers."

Thor holding Mjolnir glowing blue, like his eyes

Chris Hemsworth as Thor in Thor: Love and Thunder.

Marvel Studios/YouTube

The Marvel effect

One effects artist believes the onus is still on Marvel to enact its own changes. It could come down to greater training for its directors on the VFX process.

"Marvel's directors are often inexperienced with the VFX process, both on set and after," an effects artist said.

If the director happens to prefer longer takes, it can "dramatically" increase the workload on artists, Allen said. Not only are there more frames to create effects for, but the longer the effect is on screen, the more precise they have to be. "Shorter shots mean you can cut a few corners."

The effects artist said Marvel must stop believing "VFX gives [it] infinite room to change things." They said Marvel must work with its directors to reduce the number of iterations in the VFX process. "With training -- with clearer, more 'decisive' visualization provided to directors early in the process -- everyone could be on the same page." 

Then, maybe, no one would have their work come under fire during press tours.


Source

Marvel's VFX Artists Are Suffering -- And Starting To Speak Out


Marvel s vfx artists are suffering and starting to speak out meaning marvel s vfx artists are suffering and the heart marvel s vfx artists are suffering and pain marvel s vfx artists are suffering and buddhism marvel s vfx artists are suffering and faith marvel s vfx artists are driven marvel studios lego marvel super heroes 2
Marvel's VFX Artists Are Suffering -- and Starting to Speak Out


Marvel's VFX Artists Are Suffering -- and Starting to Speak Out

Thor: Love and Thunder  director Taika Waititi makes interviews look fun. During the long and often tedious press tour filmmakers endure to promote their latest films, Waititi brought his trademark laid-back goofiness to a video in which he breaks down a scene. Only, this time, it backfired. Almost offhandedly, Waititi questioned whether a character named Korg, a CGI rock creature he also played, looked "real." "Do I need to be more blue?" he asked.

The comment launched headlines. Waititi, the director, appeared to cruelly mock his own film's VFX work -- work painstakingly toiled over across hundreds of hours by visual effects artists. It got worse. At the same time, severalReddit threads surfaced, charting the harsh experiences of effects artists who worked on Marvel projects as far back as 2012.

Chris Hemsworth and Taika Waititi in suits standing in front of a poster for Thor: Love and Thunder

Chris Hemsworth and Taika Waititi at the Sydney premiere of Thor: Love And Thunder.

Photo by Lisa Maree Williams/Getty Images

"Working on Marvel projects ends up being incredibly stressful, and this is a widely known issue throughout the VFX industry, it's not specific to any one VFX house," a person who worked on Marvel projects and wished to remain anonymous, told CNET via email. Industry standards dictate a strict policy of not speaking to the press.

Marvel and Disney didn't immediately respond to a request for comment.

Visual effects artists are in more demand than ever, servicing abundant productions from Marvel, Warner Bros., Sony and more. VFX studios secure work by placing a bid based on the number of shots a studio requests. Competition can be aggressive. While a low bid might win, the actual workload the shots amount to can vary dramatically.

"You bid on a number of shots and hope that on average they don't end up being too complicated or difficult, or that the client gets too caught up in minor details and keeps sending shots back for more work," said Peter Allen, an animator and VFX artist and former lecturer in film and television production at the University of Melbourne.

The work is contracted to a VFX house at a set price. An effects artist might manage grueling hours to meet hard release dates but work overtime unpaid. If the final product fails to satisfy audience expectations, VFX artists often take the blame.

"As a visual medium, visual effects are among the easiest targets for fans to pick apart, especially if there are leaks or early releases of unfinished shots," Allen said. Cats and Sonic the Hedgehog are recent examples.

She-Hulk, looking perturbed

The upcoming She-Hulk has already drawn criticism for the CGI look of its hero.

Marvel Studios/Screenshot by CNET

With an avalanche of new projects lined up in the next phases of the Marvel Cinematic Universe -- a seemingly never-ending stream of content -- effects artists have been coming under intensifying strain. Ms. Marvel, She-Hulk and Thor: Love and Thunder are the latest to weather criticism about underwhelming superpower effects.

But now, the artists vital to Marvel's storytelling are speaking out. Sick of bearing the brunt of visual effects criticism, tired of punishing working conditions, VFX artists are demanding change.

Unless the industry can make fundamental improvements, Marvel could have a problem on its hands.

An infamous client

Even before the public Reddit threads, insider stories and viral tweets, Marvel had a reputation for pushing VFX artists to the brink. Forget 38-hour weeks. One source described working 60 to 80. This lasted "multiple months in a row."

The toll was brutal. "I've had to comfort people crying at their desks late at night from the sheer pressure involved, and routinely had colleagues call me having anxiety attacks," the effects artist said. "I've heard personally from many artists that they ask to avoid Marvel shows in their future assignments."

Another VFX artist, who also wished to remain anonymous, described harsh conditions that extended beyond the Marvel machine.

"I have worked on several projects for Marvel and other tentpole films," the effects artist told CNET. "For many years, I did work long hours, mostly unpaid. No longer. At no time do I work for free, nor will I work an all-nighter for a perceived emergency."

Some kind of magical realm in Marvel's Doctor Strange in the Multiverse of Madness.

Sequences underwent late changes in Doctor Strange in the Multiverse of Madness.

Marvel Studios

One effects artists boils Marvel's problems down to three major issues: a demand to see near-complete work much earlier in the process compared to other clients; high-pressure environments leading to burnout and low morale; and lower budgets squeezing out more experienced, more expensive workers from future Marvel projects.

Even after shots are exhaustively delivered, Marvel is allegedly "infamous" for requesting "tons of different variations" until one earns the green light. It doesn't end there. More changes to a production often come late in the game, potentially weeks out from release, resulting in an endemic practice of working overtime. The latest Doctor Strange flick, for example, underwent late changes to sequences involving VFX.

"We've literally made up entire third acts of a film, a month before release, because the director didn't know what they wanted," one source said about Marvel in general. "Even Marvel's parent Disney is much easier to work with on their live-action films."

Could VFX houses push back? Not if they want to risk financial loss. In 2013, Rhythm & Hues, the acclaimed VFX house that worked on The Lord of the Rings and Life of Pi -- which won the Oscar for best visual effects -- filed for bankruptcy. It was the last major independent VFX studio in Los Angeles. Moving Picture Company, an effects house that worked on Spider-Man: No Way Home, reportedly announced in July that it would be freezing pay rises this year.

Marvel, providing a seemingly endless source of work, is a lucrative client. "Marvel has multiple blockbusters in a row, and studios that displease them risk losing out on tons of work," said one effects artist. "So they don't push back as much as they would with other clients."

The size of Marvel allows it to secure bargain effects work, to "string along" a studio or move on to the next best bidder. Yet, for some, working on Marvel projects is no different from any other big action film. It's about managing expectations.

Pi and a tiger on a boat

The VFX studio behind Oscar-winning Life of Pi went bankrupt.

Fox 2000 Pictures

Balance

Not all VFX gigs are an overwhelming slog. Not even with Marvel.

"My experience working on the one Marvel film was pretty much the same as any other film," another artist told CNET. They said that, while the workload was high, the deadlines "were the same as any other action film."

Another VFX artist believes the onus is on the effects houses to stand up for their workers, to "pay overtime" and "manage expectations," both with clients and artists.

"The blame is on the VFX studios, not the client -- Marvel or otherwise."

Yet less established VFX houses might lack the influence to shield artists from the "crazy" schedules Marvel could impose. One solution to this power dynamic has already started to unfold.

A decade ago, visual effects artists were part of one of the "largest non-unionized sectors in showbiz," according to a Variety report. Since then, VFX unions such as the International Alliance of Theatrical Stage Employees have attempted to organize visual effects artists.

"Employees unionizing would dramatically change how VFX houses bid shows because they can't simply dump the poor choices onto their employees," one effects artist said. "It makes sure employees can't be pushed around as easily."

Animation artists, for example, can unionize in their respective workplaces with the help of the Animation Guild. The organization acts as an advocate for its members over wage disputes and more between employees and employers. Major studios such as Dreamworks and Walt Disney Animation Studios -- as well as Marvel Animation -- employ artists covered by the guild.

The time could be right for making unionization happen for effects artists, VFX artist Allen said. "Right now, there's high demand for staff so there is an unusual opportunity for those staff to organize since production companies really need them."

But this solution isn't as easy as snapping one's fingers. Outsourcing, or using ununionized workers, is another way for studios to cut costs. "Many studios will bring in people on work visas with the promise of long-term employment," one effects artist said. The studios then leave the employee "dangling."

Still, signs could be positive for effects artists. Other production workers, including staff in IT and logistics, have been successful in joining the Animation Guild, which "used to be for artists only," Allen says. For VFX professionals, traditionally viewed as craftworkers rather than artists, this could be an "interesting development."

"But individual workplaces have to agree to unionize, it's not an automatic protection for all workers."

Thor holding Mjolnir glowing blue, like his eyes

Chris Hemsworth as Thor in Thor: Love and Thunder.

Marvel Studios/YouTube

The Marvel effect

One effects artist believes the onus is still on Marvel to enact its own changes. It could come down to greater training for its directors on the VFX process.

"Marvel's directors are often inexperienced with the VFX process, both on set and after," an effects artist said.

If the director happens to prefer longer takes, it can "dramatically" increase the workload on artists, Allen said. Not only are there more frames to create effects for, but the longer the effect is on screen, the more precise they have to be. "Shorter shots mean you can cut a few corners."

The effects artist said Marvel must stop believing "VFX gives [it] infinite room to change things." They said Marvel must work with its directors to reduce the number of iterations in the VFX process. "With training -- with clearer, more 'decisive' visualization provided to directors early in the process -- everyone could be on the same page." 

Then, maybe, no one would have their work come under fire during press tours.


Source

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