Tag Archives: creators

‘The Marvelous Mrs. Maisel’ Creators, Luke Kirby Unpack “Hurtful” Lenny Bruce Finale Scene: “You Really Can’t Go Backwards” – Hollywood Reporter

  1. ‘The Marvelous Mrs. Maisel’ Creators, Luke Kirby Unpack “Hurtful” Lenny Bruce Finale Scene: “You Really Can’t Go Backwards” Hollywood Reporter
  2. Why ‘The Marvelous Mrs. Maisel’ had to show Lenny Bruce as the tragic figure he became Entertainment Weekly News
  3. Amy Sherman-Palladino Recalls Working on the ‘Abusive, Evil’ Set of a Kirstie Alley Sitcom Pajiba Entertainment News
  4. ‘The Marvelous Mrs. Maisel’ Season 5: What Happened to Lenny Bruce in Real Life? Collider
  5. Why Lenny Bruce’s Death Wasn’t Part of ‘The Marvelous Mrs. Maisel’s Final Season (Exclusive) Entertainment Tonight
  6. View Full Coverage on Google News

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Lenovo’s Latest Line-up of New Yoga Laptops Empower Creators from Inspiration to Expression – Lenovo StoryHub

  1. Lenovo’s Latest Line-up of New Yoga Laptops Empower Creators from Inspiration to Expression Lenovo StoryHub
  2. Lenovo launches new Slim Pro and Yoga laptops for creative professionals TechSpot
  3. Lenovo Yoga Slim 6 Ultrabook with AMD Ryzen 7000 series CPUs and USB4 connector announced gizmochina
  4. Lenovo unveils a bunch of thin and light consumer laptops with Intel and AMD processor options Liliputing
  5. Lenovo unveils the Slim Pro 9i, a thin-and-light laptop with a mini-LED display and NVIDIA RTX 40-series graphics Windows Central
  6. View Full Coverage on Google News

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Netflix Re-Ups Overall Deal With ‘Dark’ Creators, Duo Board James Tynion Comic Series ‘Something Is Killing The Children’ With Boom! Studios – Deadline

  1. Netflix Re-Ups Overall Deal With ‘Dark’ Creators, Duo Board James Tynion Comic Series ‘Something Is Killing The Children’ With Boom! Studios Deadline
  2. Netflix’s Something Is Killing the Children Now From Dark Team Gizmodo
  3. Despite cancellation, 1899 creators aren’t done with Netflix quite yet The A.V. Club
  4. Hot Comic ‘Something Is Killing the Children’ Getting Series Treatment from ‘1899’ Showrunners, Netflix Hollywood Reporter
  5. “Something Is Killing the Children” Adaptation in the Works from Netflix and “Dark” Creators! Bloody Disgusting
  6. View Full Coverage on Google News

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Wizards of the Coast OGL Change Draws Ire From Creators and Fans Alike: ‘It’s Not Right’

The tabletop industry looks to be undergoing a seismic shift based on leaked documents showing that Wizards of the Coast intends to implement a more restricted Open Gaming License (OGL) agreement.

According to a recent Gizmodo report, Hasbro subsidiary Wizards of the Coast is poised to revoke its longstanding OGL, which allows for third-party publishers and fans to create D&D content using their game rules. For over 20 years, this license has empowered countless creators to make and distribute their own D&D content using tools like Kickstarter, and has allowed large publishers like Paizo, creators of Pathfinder, to become titans of the tabletop space in their own right.

Reportedly, the new license, called OGL 1.1, makes numerous revisions to the D&D policy, including adding a requirement that all creators register any products they’re selling with Wizards of the Coast. The new agreement also introduces a new 20-25% royalty to be paid to Wizards by license-users making an excess of $750,000 in a year while giving Wizards a “non-exclusive, perpetual, irrevocable, worldwide, sub-licensable, royalty-free license” to use content created using OGL for any purpose. The new agreement would force all creators to adopt OGL 1.1 despite the current version’s explicit language that a move like that could never be forced upon creators.

Wizards of the Coast responds: “The OGL is not going away”

After rumors regarding these changes began appearing online last month, Wizards of the Coast responded to online backlash from fans by issuing a statement on their D&D forum.

“The OGL is not going away,” Wizards of the Coast wrote. “You will still be able to create new D&D content, publish it anywhere, and game with your friends and followers in all the ways that make this game and community so great. The thousands of creators publishing across Kickstarter, DMsGuild, and more are a critical part of the D&D experience, and we will continue to support and encourage them to do that through One D&D and beyond.”

But the leaked draft of OGL 1.1 seems to tell a very different story – one aimed at obstructing competitors like Green Ronin Games, which sells numerous products that utilize OGL.

If I publish under the OGL 1.1, by the letter of the agreement, WotC could republish all my writing at their discretion. It’s not right.

In OGL 1.1, Wizards states “the Open Game License was always intended to allow the community to help grow D&D and expand it creatively. It wasn’t intended to subsidize major competitors, especially now that PDF is by far the most common form of distribution.” With D&D alternatives like Pathfinder enjoying enormous popularity in recent years, Wizards is increasingly interested in reigning in the OGL.

The changes to WOTC’s OGL come amid increased pressure to increase revenue from parent company Hasbro. Just last month, CEO Cynthia Williams described D&D as being “really under monetized” during a digital event with investors, and expressed an interest in unlocking “the type of recurring spending you see in digital games.” These statements came immediately following a dip in Hasbro stock after analysts criticized their handling of Magic: The Gathering.

The leaked document gained additional credibility when Kickstarter Director of Games Jon Ritter, tweeted, “Kickstarter was contacted after WoTC decided to make OGL changes, so we felt the best move was to advocate for creators, which we did. Managed to get lower % plus more being discussed. No hidden benefits / no financial kickbacks for KS. This is their license, not ours, obviously.”

The lower percentage Ritter refers to is the perplexing 5% reduction in royalty payments offered to projects funded through the crowdsourcing platform, all but confirming the rumored OGL 1.1 changes.

Reached for comment by IGN, Wizards of the Coast declined to comment further and pointed toward its statement on D&D Beyond.

“It’s not right”

Now, with details of the draft of OGL 1.1 out in the open, fans and creators alike are sounding the alarm. Pat Mooney, the Lead Designer at Flagbearer Games told IGN, “The most painful part of the new OGL is the clause that gives WotC the right to use any of my content, in perpetuity, royalty-free. I’m planning to Kickstart a sourcebook on the American Revolution in the spring.”

He went on to write, “More than half of my book will be “fluff,” or worldbuilding, history, and other narrative content that has nothing to do with rolling a die. Yet if I publish under the OGL 1.1, by the letter of the agreement, WotC could republish all my writing at their discretion. It’s not right.”

Nerd Immersion, a YouTuber and creator of D&D content through use of OGL, told IGN, “If this continues I could see a rise in popularity of other non-D&D and non-OGL RPGs. I also wouldn’t be surprised if several of the creators who are frustrated by these changes end up designing a new, replacement RPG system…similar to how 4e and the Game System License lead to the creation of Pathfinder using the original OGL.”

Some publishers, like publisher MCDM which makes supplements for D&D, remain optimistic, saying to fans via Twitter, “Regarding the OGL 1.1, MCDM has taken advice from counsel and we don’t think it affects the development of Flee, Mortals! If/when other products are affected, we’ll let the community know.”

Tyler A. Thompson, an attorney who represents games publishers Sad Fishe Games and Prudence Holdings (both of which rely on OGL), wrote in a letter to Wizards that “creators are not going to be bullied,” and that if Wizards would not clarify the planned changes in OGL 1.1, his clients “will be forced to begin preparation for litigation to the fullest extent allowable by law, including to contact major and minor publishers to join in a potential claim against Wizards for anticipatory breach and other claims.”

Time will tell if the leaked draft of OGL 1.1 will see the light of day, as Wizards is apparently “open to being convinced we made a wrong decision.” After all, it wouldn’t be D&D without a DM asking “Are you sure?” before making a choice that completely upends the game.

Travis Northup is a writer for IGN. You can follow him on Twitter @TieGuyTravis and read his games coverage here.



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Casa Bonita sets a reopening date, now owned by “South Park” creators

Call it a Christmas miracle: Casa Bonita finally has an open date.

According to a Thursday announcement, the famous eatertainment venue in Lakewood will reopen in May for the first time since 2020, when it closed at the beginning of the COVID-19 pandemic.

“Guys, I saw a thing in the news about what Coloradans want for Christmas, and besides a new football team and fresh snow, they said they wanted an opening date for Casa Bonita,” said Trey Parker, co-creator of “South Park” and co-owner of Casa Bonita, in a video announcement. “So guess what?!”

“We’re opening in May!” said Parker, co-owner/co-creator of “South Park” Matt Stone and chef Dana Rodriguez said in unison.

 

Thursday’s announcement is the first fans have heard since November 2021, when Casa Bonita announced it had hired three-time James Beard-nominated Denver chef Dana Rodriguez to lead the kitchen.

It’s been a long time coming, too. The venue closed in March 2020 due to COVID-19 and the “South Park” creators purchased it in September 2021.

The original plan was to reopen by late 2022, but this summer, Stone and Parker said they couldn’t confirm an opening date due to unforeseen challenges with the building’s renovation. In June, for example, Casa Bonita’s iconic fountain was razed amid concerns about its crumbling foundation. According to city permitting documents and construction plans, the renovations are expected to cost about $12 million.

“Have you ever seen ‘Kitchen Nightmares’? It’s the very, very worst one of those you could possibly ever imagine,” Parker told The Post in August. “What we thought would be, ‘Oh this will be cool. We can buy this and open it and it’ll be around again,’ turned into ‘Oh this is going to be what we have to put all our money into and hope that it works.’”

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Sensual ASMR has boomed on YouTube — but creators are facing a crackdown

Dev Ritchie vividly remembers the first time she experienced ASMR — a feeling of well-being combined with a tingling sensation in the scalp and down the back of the neck, often experienced in response to sound.

She was sitting in a cafe with a friend, who had told Ritchie she wanted to show her something. Ritchie allowed her companion to place a headphone earbud in each of her ears, closed her eyes, and listened to the barbershop-based ASMR video her friend had discovered. Her whole body tingled. Instantly, she was hooked. 

She wasn’t alone. According to ASMR University, there are roughly 500,000 ASMR (an abbreviation of autonomous sensory meridian response) channels and 25 million ASMR videos on YouTube alone, and the hashtag #asmr has attracted more than 460 billion views on TikTok. Creators in the space create sound-based content designed to elicit the sensation of ASMR in viewers, often attracting millions of views in the process. The niche involves the recording of specific sounds — often things like tapping or clicking — in striking detail through the use of microphones. 

The ASMR niche has given way to a wide range of vloggers who cater to specific themes, like electronic restoration and even barbershop experiences. Ritchie, who now creates her own ASMR content, occupies one of its most controversial subgenres: a genre whose creators dub it sensual ASMR. Videos in the niche often involve the sounds of sexually charged licking, kissing, and “wet” massages, all amplified by the use of microphones. 

Sensual ASMR’s popularity pales in comparison to traditional ASMR — Ritchie’s most viewed video, “HOT Step sister gives you HJ ASMR,” has 1.5 million views, while the most viewed ASMR video on YouTube has 407 million. But its appeal is undeniable. Ritchie alone has attracted more than 70,000 subscribers under the name GanjaGoddess, by releasing clips with titles like “Boob Massage ASMR,” “HOT Teacher PUNISHES You ASMR,” and “Moaning and Dirty Talk ASMR.”

“ASMR videos with audio sexual sounds may be age-restricted or removed from the platform.”

Clearly, there is an audience for the content that Ritchie creates — but YouTube doesn’t see the appeal in her line of work. A year ago, Ritchie received a message that explained her videos had been demonetized due to their sexual nature. Since then, the platform has redoubled its efforts to combat the spread of sensual ASMR. In its September 7th policy change announcement, YouTube stated that it had “strengthened our policies to better identify and action ASMR content that is sexually gratifying,” adding that “ASMR videos with audio sexual sounds may be age-restricted or removed from the platform.” Ritchie, like many other creators in her niche, is worried her videos could all be deleted.

Sensual ASMR videos have an undeniable raunchy component, but raunchiness is also a spectrum — purging anything that might be sexually titillating from YouTube would mean removing all kinds of scenes from mainstream films or television. And many creators argue that they aren’t purely about sex. Former model-turned-ASMR vlogger Elcee Orlova feels that the mantras she utters in her videos — which are usually proclamations of love, care, and affection aimed at those watching her clips — are what keep people coming back for more.

“I get comments like, ‘Thank you for your video. No one has ever told me those things in my entire life,’ and, ‘Watching your videos makes me feel a bit less lonely,’” recounts Orlova, who declined to share her age and location with The Verge for privacy reasons. She has attracted more than 40,000 subscribers on her YouTube channel, ASMR GIRLFRIEND, where she uploads videos with titles like “ASMR Girlfriend Gives You A VERY WET Massage” and “ASMR Girlfriend Measures You and Finds Out Your Size.” “I believe my videos can help [those people] feel cared for,” she adds, “and appreciated for who they are.”

Ritchie has similar feelings about her work. “There’s a lot of people out there, whether they want to admit it or not, that are having a lot of issues with loneliness. I call myself their e-girlfriend,” she says. “I take the time to talk to them, I tell them things, and I care about them. That’s going to make them feel better.”

“There’s a lot of people out there … that are having a lot of issues with loneliness.”

In the eyes of ASMR creators, the content they offer up isn’t inherently sexually explicit or in violation of YouTube’s policies. It’s all built around the power of suggestion — and is often used to entice prospective clients who might want to view their more X-rated work. “Most of the traction that I get through YouTube, I use to just funnel into OnlyFans. It’s like a billboard that I kind of get paid for. Like: Now that you see what my tongue can do, come watch me do other things with it,” explains Kaitlyn Siragusa, a 28-year-old sensual ASMR content creator and streamer from Texas, who has amassed more than 8 million Twitch and YouTube followers under the name Amouranth. “I don’t know any girls who only do sensual ASMR,” she adds. “They’re always doing harder stuff [on the side].”

The reluctance of ASMR creators to explicitly label their content as sexual is understandable in the context of YouTube’s policies. The platform does not allow sexual content if its primary purpose is sexual gratification, nor any content that involves “the depiction of sexual acts or fetishes that are meant for sexual gratification.” Its policies also clearly state that links to websites that violate those guidelines — like sexually explicit OnlyFans pages, for example — are not allowed. It doesn’t help that ASMR has often been classed as a fetish, although creators in all of its niches vehemently deny that this is the case. Admitting that their ASMR content is designed to be sexually gratifying, or used to promote X-rated content, could mean that creators risk their videos being banned or their accounts being deleted.

How YouTube’s rules should apply to sensual ASMR is up for debate, and YouTube didn’t return a request for comment on the policy before publication. Creators in this space rely on the art of suggestion. Their videos are not visually sexually explicit, and the reality of what’s occurring — whether it be the licking of an ear-shaped microphone or the squelching of off-screen macaroni — is not necessarily sexually gratifying. YouTube’s enforcement of such policies is also blurry. Clips of someone called “Fetish Pixie” spitting in front of a mirror, as well as spitting compilations of TikTokers, are available on the platform — as well as videos that feature women sucking on each other’s toes or women being tickled while tied up BDSM-style. Like sensual ASMR, none of it depicts sex, but it’s widely recognized as sexually charged.

Not everyone feels that YouTube’s regulations are a bad thing. “To be honest with you, I actually support YouTube’s decision regarding ASMR videos that exist solely for sexual arousal, like kissing and licking the microphone,” says Orlova. “If someone wants to enjoy that kind of content, they can easily switch from YouTube to some other sex-related platform and watch the videos there.”

Others blame an increasingly competitive social media ads market, which has come to a grinding halt this year after years of growth. “I think a lot of it’s a rat race now. There’s so many places people can advertise — Facebook, Twitch, Snapchat, YouTube,” says Siragusa. “The advertising market is getting so saturated now from all these different platforms. I think it’s a race to the bottom for who can be the most advertiser-friendly platform that people go to.” But Ritchie thinks that the popularity of ASMR has made it an easy scapegoat for YouTube, which is frequently under pressure to purge the site of non-family-friendly videos.  

“The space for nudity and sexual content online is shrinking.”

Dr. Carolina Are, an innovation fellow at Northumbria University’s Center for Digital Citizens and expert in online moderation and the censorship of nudity, points to the influence of FOSTA-SESTA — a US act designed to curb online sex trafficking, making the hosting of sexual content riskier. “The space for nudity and sexual content online is shrinking, and this is massively worrying not just for sexual expression but also education,” she explains. Over-the-top policies from social media giants have already left safe-sex educators struggling to disseminate information and has even led to the development of “algospeak” due to the censorship of words like “lesbian” and “BDSM,” which entrenches the idea that sexuality and fetish are taboo things best left undiscussed. “It feels like an incredibly patronizing, puritan move,” Are continues. “Like platforms are trying to regulate people’s lives and choices.” 

Are also warns that YouTube may not make the distinctions Orlova does between sensual and non-sensual ASMR. “It’s going to bleed onto creators that make non-sexual content anyway because this is what happens with these specific policies,” she says. FOSTA-SESTA, for example, has already led to the inadvertent silencing of queer adult comic artists. “This is very worrying because it means platforms can decide which type of content becomes obsolete or wrong at the flick of a switch.” 

Companies, it seems, are mostly at that point. Most social media platforms practice stringent policies around sexual content — Instagram’s famed opposition to the female nipple in all of its forms, Tumblr’s porn ban, and OnlyFans’ almost-decision to remove sexual content creators from its platform are just three examples of social media’s sexual sanitation era — and toeing the line between suggestive and unacceptable content becomes harder every month. It’s left creators feeling frustrated. “I just feel like people should be able to enjoy what they want to enjoy,” says Siragusa. “If listening to girls lick and spit on microphones makes them feel less lonely, I don’t see a problem with that.”

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Rick And Morty Creators Patch New Shooter So It’s Less Annoying

Screenshot: Squanch Games / Kotaku

I like annoying-sounding things, like feedback loops on Discord calls, un-WD-40’d door hinges, and small dogs who are losing their shit over the existence of reality. But not everyone likes to be annoyed while playing video games, and that’s why the developers for recently-released first-person-shooter High on Life just issued a patch to deal with one of its more divisive elements: talking guns that just won’t quit it.

High on Life, a Metroidvania first-person shooter that was described in our review as “this fucking talking gun game,” released yesterday on PC and Xbox. Generally it seems to be a fun game to play, but not one to listen to. The game comes from the mind of Justin Roiland, co-creator of Rick and Morty. Perhaps that’s all you need to know. But if not, know that High on Life is a very vibrant, cartoonishly silly first-person shooter where your gun, who has a mouth and eyes that face you during gameplay, will say things like “welcome to fucking space!”

It’s on brand for this kind of Adult Swim-style humor. But when it arrives in a video game form, where you’ll spend multiple hours at a time playing as opposed to a 30-minute silly cartoon, the constant chatter is sure to get annoying. It seems that the developer, Squanch Games, is aware of that and has thus issued an update to give players more control over how frequent the guns talk.

As you can see, these patch notes look very much like what you’d expect from a game these days: A chunk of digital nips and tucks to address outstanding bugs, improve quality of life features, and tune up certain gameplay mechanics. That includes, in this case, the 11th item (as if it were buried to say, “yeah, we know it’s annoying”) under the Content Updates section that reads out “improved player control over gun and enemy combat chatter within the settings menu.”

As observed by GamesRadar, High on Life isn’t the only game to get a feature like this. Forspoken, which is playable as a demo on the PlayStation 5, also has a talking inanimate object: a seemingly sentient bracelet. Like High on Life’s guns, it too has gotten under enough nerves to earn an option to adjust how frequently the thing spouts random dialogue at you.

Chatter and annoying voices can sour an otherwise pleasant game, though often this kind of thing won’t be pervasive throughout a game. The ability to adjust such features is certainly appreciated and allows more room for experimental, quirky choices like talking guns or bracelets; I’m all for giving people the choice of how they want to tailor, or hear a game. Now if you’ll excuse me, I’m going to go play some Gex.

 

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Judas, New Game From The Creators Of BioShock, Announced At The Game Awards

The holidays have come early for BioShock fans, after a launch trailer for Ken Levine’s new game was revealed at The 2022 Game Awards. Called Judas, Levine’s new narrative-driven game is unrelated to the BioShock franchise but shares many visual similarities to the series, something long-time Levine fans are sure to appreciate.

The trailer itself follows the game’s female protagonist, Judas, as she struggles to survive on a damaged starship. The psychological thriller FPS features gameplay mechanics and a visual aesthetic similar to BioShock’s–something that’s sure to be a crowd-pleaser. The trailer doesn’t go into too much detail regarding the plot of the game, but we know that as Judas, players must decide whether or not to trust other characters while fighting for a chance to “fix what was broken” (presumably a reference the starship Judas lives on).

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Now Playing: Judas Reveal Trailer | The Game Awards 2022

Earlier this year, Levine was playing his cards close to the chest, claiming that he didn’t want to reveal anything about the game until its launch date was closer.

“We didn’t want to go down the path of showing [the game] too early, because we thought it was going to be out sooner, and I don’t want to have a long period of having a build-up, interest, and hype because it just doesn’t, it would end up feeling fairly inauthentic and I think that gamers want to be… they want to know what they’re getting, and the only way to do that really is to announce closer to launch,” he said in January 2022.

Judas can now be added to Steam wishlists, and will be available on Xbox Series X, Playstation 5, and PC upon its release. Currently, no release date is listed on Steam or the Epic Games Store, but based on Levine’s previous comments about launch dates, it’s likely one will be announced relatively soon.

The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.

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Dead Cells’ creator’s next game is Nuclear Blaze

The creator of the acclaimed rogue-like action-platformer, Dead Cells, has revealed their next project: Nuclear Blaze.

Sébastien Bénard’s Nuclear Blaze is expected to release on consoles on 28th April, 2023 and will set you back €15/$15 (sorry, I don’t have UK specific pricing at the time of writing) for a digital copy, and €30/$30 if you fancy a physical copy on either Switch or PS4.


Nuclear Blaze | Release Date Announcement Trailer.

You’ll have to jump over to Red Art Games to pre-order a physical copy, although by doing so, you’ll secure a set of three “Exclusive Nuclear Balze enamel pins”. Physical copies also include a booklet including an interview with Bénard and a keychain.

“A huge fire is raging and you are sent on the spot to stop it,” teases the video description. “Business as usual for a highly-trained and experienced firefighter such as yourself. Air dropped right in the middle of this blazing inferno, your main mission objectives are to contain the fire, investigate its causes and look for survivors.

“The unexpected discovery of a secret military facility is quickly going to send a monkey wrench in your plans. Unravel the truth behind the existence of Site 16 and A-█████. Access to that information may require authorisation clearance ████ and ██ though…”

Dead Cells recently threw open its doors to welcome another batch of familiar gaming faces – from indie favourites including Hotline Miami, Shovel Knight, Terraria, and Slay the Spire – in its new Everyone is Here Vol. 2 update on PC.

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Shonda Rhimes, other creators unhappy with Netflix’s new mid-video ads

Shonda Rhimes attends 2018 Vanity Fair Oscar Party on March 4, 2018 in Beverly Hills, CA. 

Presley Ann | Patrick McMullan | Getty Images

Shonda Rhimes, the high-powered producer behind “Bridgerton” and “Inventing Anna,” is among a number of showrunners, creators and writers who have expressed displeasure with Netflix‘s decision to include mid-video ads in their content, according to people familiar with the matter.

Rhimes and Intrepid Pictures’ Trevor Macy and Mike Flanagan are among a group of creators who have told Netflix executives they believe the ads interrupt their storytelling, said the people, who asked not to be named because the discussions are private. Netflix has told creators it won’t be sharing any revenue from advertising with them, the people said.

Netflix isn’t the first streamer to have an ad-supported tier. But it has used its previous aversion to commercials as a marketing tool to help land deals with creators. Rhimes signed a multiyear deal with Netflix in 2021 to exclusively make content for the streaming service. When she inked the deal, Netflix had a firm policy not to include advertising in its programming, a longtime tenet of co-founder and co-CEO Reed Hastings. Both Rhimes and Netflix declined to comment.

Netflix released a lower-priced advertising-supported service in the U.S. and other countries this week. Netflix made the decision to offer an ad-supported tier as revenue and subscriber growth have plateaued coinciding with the end of the global coronavirus pandemic. Netflix has about 223 million global subscribers.

Netflix executives have told creators they have thoughtfully placed midroll advertising at intervals that make sense with each episode’s storyline, according to people familiar with the matter. They’ve also told creators they don’t expect that many people to sign up for the basic advertising tier relative to subscribers who will pay for no commercials, the people said.

“We’re using our internal content tagging teams essentially to find those natural breakpoints so that we can deliver the ad in the least obtrusive point,” Netflix operating chief Greg Peters said in October.

Still, several creators haven’t been pleased with the explanations. Intrepid Pictures makes horror films and series for Netflix. Those are particularly bad fits for ad insertions because they kill building tension. One 50-minute episode of Intrepid’s “The Haunting of Hill House” is comprised of five long, single-shot takes.

That episode, the series’ sixth (“Two Storms”), is now interrupted by three one-minute long commercial breaks, made up of three ads each, in the $6.99 tier. One the main reasons Intrepid signed an exclusive overall deal with Netflix in 2019 was the streamer’s total avoidance of advertising, according to people familiar with the company’s thinking. A spokesperson for Intrepid declined to comment.

No revenue share

Not all creators are upset with Netflix. Ryan Murphy, who signed a $300 million with Netflix in 2018, crafts his series’ episodes in three acts, leading to easy ad placement, according to a person familiar his work. Scott Frank, co-creator of “The Queen’s Gambit,” has also not complained, according to a person familiar with his thinking.

The Directors Guild of America and the Writers Guild of America declined to comment for this story.

Splitting revenue from advertising, especially commercials that interrupt the storytelling flow, could be a way to mollify irritated creators who feel Netflix has changed the rules midgame. But Netflix won’t be doing that, according to people familiar with the matter. Netflix owns its original programming and can insert ads where and when it wants, giving creators little leverage other than voicing complaints.

Still, other media and entertainment companies have avoided the issue of interruptive ads or agreed to share revenue in some cases. Warner Bros. Discovery‘s HBO Max decided not to include midroll advertising in HBO programming to skirt the issue of interrupting prestige programming. When HBO has sold shows to linear cable networks in syndication, such as when “The Sopranos” aired on A&E, creators have been able to participate in revenue sharing, according to a person familiar with the matter. An HBO spokesperson declined to comment.

Some creators that have made content exclusively for Disney+ also have rights to participate in advertising revenue sharing, depending on contractual language, according to a person familiar with Disney‘s policies. But unlike Netflix, Disney owns linear cable networks that could eventually air Disney+ programming with commercials. A Disney spokesperson declined to comment.

–CNBC’s Sarah Whitten contributed to this article.

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