This Week Elsewhere – 11/20/17

Cinematic Slant

Cinematic Slant is where I write about movies, including the campaign recaps I’ve been doing since 2004 along with other news and opinions.

Marketing Recap – Wonder: I’m also struck by how it’s sold as both a movie for kids and young adults who will be drawn in by the relatability of how strange and alienating fifth grade can be as well as a movie for full-on adults and parents, who will identify with all the emotions shown by Auggie’s mom and dad.

wonder pic

Marketing Recap – Roman J. Israel Esq.: I know I’ve said this a lot lately, but this is the kind of movie that would have been a summer tentpole for any studio 30 years ago, so it’s a bit odd to see it almost flying under the radar here.

roman j israel pic

What Happened To Monday (After the Campaign Review): Netflix sold What Happened to Monday? as a dystopian science fiction about the lengths one will go to in order to protect family when society says they are disposable. That’s only part of what the movie delivers.

what happened to monday pic

Justice League – Marketing Recap: I can’t say I don’t like the campaign. I’m still a comics nerd, after all. But there are some real issues that weren’t addressed at all or, if they were, only made the message to the audience that much more muddled and somewhat confusing.

justice league banner

 

Well, Here Comes the Deadpool 2 Marketing: These first marketing moves are great, but it’s also important to remember there was actually a traditional campaign that paralleled all the goofiness for the first movie. Traditional trailers came along with the ones where he addressed the audience directly and made fun of Hugh Jackman. So those will be coming for the second movie as well.

deadpool 2 domino

Mudbound – Marketing Recap: I kind of love this campaign. It’s low key but intense, just like the characters in the story. Unfortunately, any portrait of unequal treatment based on race is not only going to present a look back into the past of our country but an uncomfortable spotlight on our own times.

Rotten Tomatoes’ Justice League Maneuver Was, at Best, Misguided: My perspective is that this is simply a really bad idea that was poorly executed, not signs of intent to completely squash film criticism. RT needed something to create some tune-in buzz for its new show and the Justice League Tomatometer score was something everyone was going to be watching for.

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Bram Stoker’s Dracula – Flashback Marketing: What’s surprising about watching this again is how sensual and steamy it is. The trailer and poster combined to sell the movie fairly accurately, promising the audience that they could expect soaring, overly-dramatic romance alongside a gothic horror story.

bram stoker dracula pic

This Writing Life

This Writing Life is where I share my thoughts, experiences, and tips on the writing process.

WWU (Writing While Uninspired): Countless people have offered the same sort of lists of places to turn to for ideas on what to write about. There are moments where even those don’t open up any new thoughts or starting places.

stuck tire

Gimme Some of That Rock and Roll Writing Music: For me music inspires. It motivates. As I write this I’m listening to MercyMe. Earlier it was First Aid Kit. Yesterday it was playlists for Dire Straits, The Killers and Prince. The day before that it was Amos Lee, St. Vincent and The Grateful Dead. Tomorrow it will be something else.

steve winwood

Don’t Neglect Design In Your Writing: It’s not that I disrespected the work developers and designers did, it’s just that I didn’t feel it applied to me. My golden words should be enough.

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Deciding Not to Fake Voice: “Be authentic” is a constant piece of advice given by consultants to companies regarding their social media content marketing programs. It’s been common for the entire 15 years I’ve been in the industry. Too often in execution that results in attempts to fake knowledge. And that’s a killer.

puzzle piece

How an Editorial Calendar Keeps My Writing on Task: Those sorts of challenges and goals are great in the moment. They help make sure the next hour or two include getting important things done. But how about knowing what needs to happen tomorrow? Or the next day? Or next week?

editorial calendar template new

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

Yesterday Was a Rough Day for Media

It’s hard to overestimate the impact of the various body blows sustained in different sections of the media world yesterday, none of which bode well for the future of a free and independent press.

Meredith May Buy Time Inc.

After two previously unsuccessful attempts, magazine publisher Meredith (home to Better Homes and Gardens and more) is reportedly close to finally acquiring Time, Inc. The deal is dead to have the backing of the Koch Brothers, the libertarian billionaires that have used their vast wealth and political influence to take down various regularity agencies and policies. The Kochs don’t seem to be interested in editorial independence and it’s likely this will turn the entire stable of magazines, including Time, into outlets for solely conservative viewpoints.

Ziff Davis May Buy Mashable

Just a year after Mashable, begun over a decade ago as a personal tech blog and now part of a media empire, was valued at $250 million it’s said to be worth just $50 million to Ziff Davis. What the long-term value of the site (or any site, really) might be is a big question mark, especially since the “pivot to video” Mashable engaged in just a few months ago doesn’t seem to have improved its fortunes any. Mashable’s editorial was increasingly watered down as it tried to move into more general news categories, realizing tech was played out. Ziff Davis last year sought to buy Gawker as it was being threatened by billionaire Peter Thiel.

Buzzfeed Misses Revenue Targets

The website that supports its important hard news with GIFs of Nicki Minaj expressing how you feel about Labor Day is going to fall well short of its yearly revenue target. That could mean the IPO everyone suspected it was planning could be put on hold or completely scrapped as it seeks new revenue streams, which it’s doing with an army of commercial content producers, to make up for increased expenses in the production of original videos and other content.

FCC To Dismantle Media Ownership Rules

Expect a new wave of media mergers and purchases if the FCC’s new rules to do away with media ownership restrictions are implemented without legal challenge. Taking away these rules means companies can own multiple TV and radio stations as well as newspapers in a single market, drowning out independent voices. The change comes, not coincidentally, as the FCC is pondering the proposed merger of Sinclair Media Group (a major conservative company) with Tribune Media. Considering Sinclair has been so willing to carry the water for the Trump Administration it’s curious that this seems to be no big deal while the proposed merger of AT&T and Time Warner has been weighed down with the requirement TW sell CNN, which has often clashed with Trump and his loyalists. Oh, and the FCC also wants to dismantle net neutrality, opening the door for media companies to add self-serving payment tiers to the internet that will reward the few while stifling innovation.

Ownership consolidation is dangerous to media. We’ve seen that in stark relief in the last couple years as billionaires shut down independent outlets for their own, often petty reasons. Similarly threatening is governmental meddling in media, deciding who is or isn’t allowed to survive without consideration of the public good, just corporate profits. Yesterday was full of signs that both situations are going to get much worse and might even lock out any mechanism for them to be made better.

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

Quick Takes: Content Marketing and Media News for 11/16/17

Hoopla, which offers movies and TV shows (as well as e-books, audiobooks and more) on behalf of local libraries, is launching apps for Amazon Fire TV and Apple TV.

Both Google and LinkedIn have launched new career search tools. Google has added information on companies including salary, job application choices and more to search results and made it easy to apply to positions you find. LinkedIn is using the power of its network to encourage people share career advice with seekers and new grads, who can find people to connect with and turn into mentors.

Kickstarter has launched Drip, a new model that expands beyond the single project to let people subscribe to their favorite creators on an ongoing basis. That’a a clear move against Patreon, which has roughly the same deal.

People are cutting the cord on traditional cable TV faster than ever, with twice as many doing so in the last quarter than made the move in the same period last year. They’re being replaced by skinny bundles delivered via over-the-top services.

The Trust Indicator is a joint venture of Facebook, Twitter, Google and Bing – along with Trust Project – that assigns verification to various news media outlets that signal it is in line with the best practices the organization has outlined. That’s good because a recent study has shown those news organizations are way out of their league when it comes to fighting disinformation online.

The FTC is cracking down on a company that has made up quotes from celebrities to sell shady supplements via ads that have run all over the internet, especially in those “Recommended Stories” units. It’s also taking a look at George Takei, who failed to disclose being paid by various news outlets to share their stories.

Want even more recommendations? Check out my Pocket Shared Items.

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

Marketing Always Follows Consumer Trends

I was intrigued by the headline to this piece on Vice the other day that examined a few examples where music videos from popular artists seemed to closely resemble the kinds of photos posted by popular Instagram travel influencers. Not that those people are being copied overtly, but there are similarities in the approaches and the kinds of images shown.

It’s not surprising that artists and singers would look to the world of social media celebrities for inspiration. That’s a good indicator of what’s resonating with the audience. Those influencers are tastemakers and music videos have always reflected the larger media world around them, whether that meant including leggy models shot in high gloss black and white, experimental indie film, or narrative portraits of complicated characters. Videos are advertisements for the artists and their products and so, just as ad agencies are hiring influencers to help them navigate trends, so too their habits are being analyzed and copied to sell music.

What was more notable to me was the fact that, like the Chicago River in 1900, the flow has been reversed. It’s not artists and other more traditional celebrities providing the influence, it’s the everyday person with an Instagram or other social media account that’s influencing the culture.

I’m much less interested in what visuals or themes may have been lifted than the fact that it’s no longer the traditional media that’s doing the influencing. That’s a profound shift in the dynamic that’s been in place since, roughly, ever.

It’s true that many fashion and other lifestyle trends, along with definitions of what’s hip or not, have often percolated up from the general public before they’re fully captured by the media. So the idea that consumers are driving these areas isn’t wholly original. But that handoff has usually meant the move from a niche to mainstream awareness.

Whatever direction the trends are flowing, one thing remains constant: It’s brands and companies that have a vested interest in defining “cool” that still have much of the power and play a large role in determining what is or isn’t seen. In the old days, they would work magazine and other editors to include their products on “Must Buy” lists, have their fashions worn on movie premiere red carpets and otherwise have them seen by those with the power to change habits. The goals are still the same, it’s just the tactics now include working with social media influencers.

So music videos and other popular entertainment retain their position as the outlet for secondary explosions from the initial efforts. You send review product to an influential person, that product becomes part of a trend because of those efforts and then that’s reflected in the entertainment world.

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

(Featured image via Vice)

Can Corporate America Market Trust?

There’s a massive problem for corporate America and it’s that the majority of the rest of the country doesn’t like or trust it at all.

A new poll reveals that 62% of Americans don’t trust the companies making up the Fortune 500 and almost half believe those companies are taking the country in the wrong direction. While the nuances and details around which issues are most important vary based on political orientation, the overall theme is that people want companies to pay their workers a fair and livable wage, treat their workforce with respect and other important issues.

The study also reinforces a relatively recent trend, which is that people want the companies they do business with to have an ethos they agree with. 85% say they are willing to pay more if the company in question has a track record of honorable business practices and 79% say they’d take a pay cut to work for such businesses.

There’s obviously a lot to unpack here.

First, the freedom to make the kinds of values-based decisions, either on what to buy or where to work, comes from a place of privilege. Only if you are relatively comfortable financially can you say you’d be happy to either pay more or earn less based on the practices of any given business. If you’re just scraping by for any of a myriad of reasons, you do what you have to do in the moment, even if it means putting such values to the side for a period of time.

Second, that reality doesn’t negate the first point, which is that many people simply don’t trust corporations to make good and responsible choices. That’s a universal feeling and one that’s actually more likely to be felt by those who are not in a position to change things. Whether you work in a job where safety and other issues are part of your reality or are reading about them in the media, this feeling is largely not dependent on your actual situation.

Finally, it can’t escape notice that these results are coming at a time when corporate America seems to be enjoying favored child status even more so than usual in the political arena. Whether it’s regulations that are altered or removed shortly after CEOs meet with cabinet officials, tax cuts that overwhelmingly favor the rich and powerful corporate owners over the people who work for those companies or buy their products or the nationwide wave of union-busting governors, it’s certainly not a time when “worker protection” is at the top of anyone’s list of priorities.

That means, though, that there’s an opportunity for individual companies to step up and take their own action independent of whatever trends are sweeping through governments at any level. They can signal loudly and clearly that they are increasing worker protections. That they are going to continue adhering to strict environmental guidelines. That they are going to take steps to make health insurance more affordable for employees. That they’re going to change their production practices to source material more ethically.

This isn’t new. Consumers have been signaling their desire to do business with companies with values similar to their own for years. Nielsen reported on it in 2014 and examples go back even earlier. People expect companies to act and have stances on political and social issues.

There seems to be potential in long-term thinking that goes beyond the next quarter’s profit margin to build a successful business that has lasting consumer loyalty based on ideological and societal responsibility. It’s surprising to see more businesses aren’t stepping up to act on that trend using it as a marketing differentiator to attract workers and customers who are obviously waiting for an opportunity.

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

How Social Networks Cater to Influencers and Creators

When Vine was shuttered last year, a large portion of the blame was assigned to the company’s inability or unwillingness to listen to the community of creators and foster their loyalty. Stories surfaced soon after it was shut down that a number of the top creators on the app reached out to Twitter to talk about what it could do to keep them active on the platform, including opening up a payment system to help them produce content that would continue attracting an audience of loyal fans.

It might seem odd that a bunch “nobodies” would essentially hold out their hands and ask for money in addition to preferential treatment from a large company in order to remain loyal. You might think they need the platform more than the platform needs any individual user, or even a handful of popular people.

That’s not the situation social networks find themselves in in 2017, though. The dynamic is instead one that favors the individual influencer and puts the power in their hands, meaning the companies that control these social distribution platforms are dependent on a small number of “influencers” to maintain whatever status they have as being hip and popular or help them reach that level.

It’s this situation that is at least in part behind the news that Snap, which just reported some troubling numbers about growth in the Snapchat user base, is not only considering a substantial redesign of the app to ease onboarding but also paying top creators to keep using it. Snapchat does not want to follow Vine into the great beyond and is willing to write checks to keep people happy.

Influencer Marketing in 2017

According to a study released in December of 2016 by content agency Linqia, 86% of marketers were already engaged in some sort of influencer marketing effort and 48% reported plans to expand those budgets in 2017, the latest in a series of spending increases.

So why is influencer marketing so hot right now?

According to a MediaKix study last year, people are spending almost two hours a day on social media. And social media is increasingly being split into two feeds: 1) The organic feed of updates from friends and family and 2) The paid ads from media companies and other brands that interrupt the stream of updates from the first category.

The reasons for brand updates being given less preferential treatment in the various algorithm-based feeds are many, but the result is that the content marketing programs companies spent years building up aren’t seeing the return on investment they did, say, five years ago. That combined with the rise of ad blockers online and on mobile and it’s clear that people don’t want to be marketed to and the distribution platforms currently dominating the media world wants you to pay to reach people.

That’s coincided to a large extent with the rise of the social media influencer, an individual who attracts a large following on a social platform through unique, original and (usually) wholly creative content. It can be beauty tips, it can be video game reviews, it can be technology updates. It can be on literally any topic.

So, in order to have their marketing messages seen by a highly influential audience, brand marketers turn to those influencers. There are no end of niche agencies that manage databases of influences of all kinds and are more than happy to do the research for a brand and then make the connection, for a substantial fee. The ROI may still be questionable, but the reach is impressive. Ad agencies are even adding influencers to their teams to try and tap into their insights about the audience and what attracts them.

Buying Platform Loyalty

One of the big issues with influencer marketing is that the ground always seems to be shifting. Because these influencers make a living on their image of being hip and cool, they want to be on the platforms that are seen as hip and cool. What those platforms are, though, changes over time. Platforms jockey for position, often by working to attract talent away from other platforms, including by paying them to make that switch.

Here’s how some of today’s top social platforms are offering money and features to influencers to keep them happy and creative and away from other apps and networks.

youtube app iconYouTube doesn’t pay creators directly but it has revamped its Creators Site after it acquired FameBit, a creator/brand connection company. It also added functionality to the Studio app to make creation and publishing videos easier. That being said, it hasn’t been transparent about changes to content and advertising policies, leaving many creators concerned over sudden drops in revenue.

Instagram_Logo1Instagram does not pay top users to keep using it, but it may not need to. It was identified last year as one of the top two platforms for influencers and one of the two, including YouTube, influencers said they were most likely to leave Snapchat to focus on, an exodus powered by the ease of making money on Instagram. Influencers posting branded content have tools available that allow them to easily disclose those paid relationships.

facebook logo 2Facebook is the only platform more popular than Instagram among influencers, Facebook has worked hard to keep influencers happy as well as the brands that pay them, and pay Facebook. This past March it expanded the availability of branded content to more Pages and Profiles. So influencers who post paid content can tag that company as a form of disclosure. It also added a feature that allows brands to pay to boost an influencer’s post directly, without the brand page having to share it in its own post first.

twitter app iconTwitter has a multi-faceted relationship with influencers and creators. While it certainly dropped the ball when it came to Vine, it has made other moves that show it gets how important a good relationship with that community is. It has touted the effectiveness of influencer marketing on the network and owns Niche, an agency that facilitates connections between brands and those influencers, so it has a vested interest in this category growing. Late last year it opened up revenue sharing for video creators and has been experimenting with ways for fans to pay top Periscope creators through engagement.

musically app iconMusical.ly, just sold to a Chinese tech company last week for a reported $800 million, quite the price tag for an app that didn’t exist three years ago. Like Periscope, fans can “gift” creators actual payments. Brands have been working with top creators on that platform for a while now and is said to be exploring other monetization efforts that would benefit both the company and the influencers eager to reach its teen audience.

pinterest app iconPinterest was identified as one of the top apps for female influencers, who were finding more success there due to the demographics of that network. Recognizing that it had a group of talented “pinners” who could help brands create engaging content it brought those creators into the Pin Collective it launched in October of 2016. That system allows marketers to work directly with influencers, who are paid for their efforts.

medium app iconMedium has pivoted its business model more times than you can count in the last few years, most recently introducing the Partner Program – first to just a few and recently to everyone – that lets users put select posts behind a membership paywall. Unlike a previous incarnation, that membership is not publication specific but for the whole site, with publishers getting a cut based on the engagement of each post they restrict access to.

Brands Pay Multiple Times

The cost of actually working with an influencer goes beyond what that individual may charge to reach his or her audience. Roughly 70% of brands say they repurpose influencer content and 36% report doing so via paid ads. So the actual cost of influencer campaigns includes some combination of the following:

  • In-house cycles spent developing the creative brief
  • Paying a relationship agencies to find the “right” influencer for a campaign
  • Paying the influencer’s core branded content fee
  • Paying for repurposing that content in ads either on social networks or in other media

It obviously remains to be seen whether or not Snapchat can change its trajectory. Since it IPOd earlier this year the stakes are higher than ever for it to succeed, but it needs to not only get past the “I don’t get it” problem that has many delete the app shortly after trying it out and to increase its attractiveness among influential creators. Snapchat Discover allows select media brands to not only create unique content but to sell ads against that content, with the revenue split with Snap. It seems the company could be pondering something similar for influencers.

Money only buys loyalty for as long 1) The spigot keeps flowing and 2) Someone else doesn’t offer a better deal. That means there’s a very small window for Snap to get in on this game and leverage its position to achieve any sort of success.

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

Quick Takes: Content Marketing and Media News for 11/14/17

A new study shows that headlines of 90 to 99 characters have the highest click-through-rate, but that runs counter to best practices for search engine optimization and other platforms, so who the hell knows, just do what’s working for you, man.

There seem to be flaws with this study on how the timing of news released on Twitter can influence conversations, but it’s an interesting premise and one that seems worthy of further exploration.

Pinterest has official launched board sections to help people better organize the material they share on that network. And it’s rolled out QR-like codes businesses can add to packages and other material that quickly create shoppable pins, the latest example of the QR code concept being a solid one, even if the initial execution didn’t take off.

There are a number of reasons outlined here as to why Musical.ly may have sold to a giant Chinese company for a reported $800 million, but the point is that this site didn’t exist three years ago and there’s arguably still a lot of potential that remains unlocked.

Mattress company Caspar becomes the latest business to launch its own unbranded print lifestyle magazine.

YouTube has heard the recent round of criticism about the inappropriate nature of many videos that appear at first glance to be aimed at kids and announced moves to try and clean up the problem.

After an unsuccessful rollout of an events-specific app, Facebook is trying again with Local, a new app that offers a single source of local recommendations and reviews from those you know. It also merged Stories with Messenger Day to make posting Stories across channels a bit easier.

Interesting stats here on the top publishing platforms, including how WordPress not only dominates in general but does so specifically in business usage.

I get what Amazon is doing with its reported plans (which it has disputed) to offer a free, ad-supported video service, but I’m failing to see how that can be described as a Netflix competitor, which is what many headlines have done. Meanwhile FullScreen is shutting down its streaming video subscription service, citing the high costs of keeping it going and the fact that the money might be better invested in other areas. And Philo announced it’s launching a subscription service that will, at least initially, only include entertainment content.

Advertisers on Snapchat can now link their Sponsored Lenses and Geofilters to their websites to increase conversion rates and extract more value from those ads.

ESPN is the latest media company to announce big Snapchat plans, launching twice-daily SportsCenter shows on the app.

Artists on YouTube can now add links to Ticketmaster events like concerts to their video descriptions to ease conversions.

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

Last Week on Cinematic Slant – 11/13/17

Keep Deathstroke. Give Me a Mockingbird Movie: If female spy movies really are the hot new trend in Hollywood following Atomic Blonde and with Jennifer Lawrence’s Red Sparrow coming next year, Mockingbird would allow Marvel Studios to get in on that.

mockingbird

Grandparents, Holidays and Gender Roles In Two Recent Comedies: For as much as society has shifted toward a perspective where gender roles are largely unfortunate holdovers from less enlightened times, it seems they’re still welcome and active in the selling of mainstream comedies.

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Daddy’s Home 2 – Marketing Recap: There’s not a whole lot here that’s different than that campaign from a couple years ago. It’s clear that the story is essentially the same, just with a couple elements scribbled in the margins to make it seem fresh, like spices added to fish that’s off but still just barely good enough to serve.

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The Philadelphia Story – Flashback Marketing: If you were to set out to design the perfect farcical romantic comedy in a lab you’d be hard-pressed to create something more spot-on than the 1940 George Cukor-directed classic The Philadelphia Story, coming to Blu-ray this week courtesy of The Criterion Collection.

philadelphia story pic

Murder on the Orient Express – Marketing Recap: …the campaign sells a movie that may be based on an old musty book today’s young people may have seen on their grandmother’s family room shelves but never picked up as a slick, colorful, energetic thriller.

murder orient express pic

Three Billboards Outside Ebbing Missouri – Marketing Recap: While the movie hasn’t gotten nearly the level of advertising or publicity as some other releases, it seems more vital as a cultural statement than much of what’s hit theaters recently. Watch the trailers or read some of the press coverage and you’ll see it’s extremely current in what’s being said and the message it’s presented to the audience.

three billboards pic

Kenneth Branagh – Director Overview: Branagh’s directorial filmography fits nicely into three (alright two and a half) categories that provide an overview of what kind of work he’s made for himself as well as what’s been offered to him over the years.

branagh thor

Update on Editorial Intent: I’ve decided that I will not be covering or reviewing the campaigns for either I Love You, Daddy or Wonder Wheel.

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Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

This Week On This Writing Life – 11/10/17

You can keep up with my Medium posts on my personal writing thoughts and experiences by following This Writing Life

Measuring Performance Comes Later: I truly believe how well a piece, whether it’s a 300-word blog post or a 40,000-word novel performs is any indicator of the quality of what’s produced or a signal of the value or health of the writer behind the keyboard.

 

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Dr. Formattinglove: …getting over my own stubborn adherence to the old way of doing things and embracing the same best practices I apply for other work is part of putting my best foot forward. It’s not enough to be a talented writer.

computer writing

Steadfastly Ignoring Advice: The problem I’ve always had with such advice is that it all seems to be geared toward creating a monoculture. Everyone’s output is basically the same because it all comes from the same foundation of ideas and practices.

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One Long Post or Several Little Posts?: Do what feels good for you and fits into your schedule and balance it with what goes over well with your audience and moves you closer to achieving the goals you have for your content.

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Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.

Fearless Women Rattling Hollywood

My latest post at Adweek deals with just some of the issues of sexual abuse, harassment, and misconduct that have shaken the foundations of Hollywood – and upset many marketing plans – and other industries.

It’s been an … eventful … couple of days for Hollywood.

Two days ago, Sony TriStar shocked the entertainment world when it announced that, per the decision of director Ridley Scott, Kevin Spacey was being replaced as J. Paul Getty in All the Money in the World—with the scenes being reshot with Christopher Plummer. This followed a growing number of allegations of sexual abuse of minors and others by Spacey, and was all the more notable for coming just six weeks before the movie was scheduled to be released, a date that (at least for the time being) remains intact.

Then, yesterday, I Love You, Daddy, written, directed and starring comedian Louis C.K., was suddenly pulled by distributor The Orchard from its planned debut in New York City. That announcement cited a then-upcoming New York Times story that hit just hours later with stories of sexual misconduct by Louis C.K. related by five women. Then, on Friday, The Orchard pulled the movie from its release calendar entirely.