I Don’t Care What The Critics Are Saying, Five Nights At Freddy’s Was Great For This Former FNAF Player- Armessa Movie News

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I don’t care what critics say – I enjoyed the new Five Nights at Freddy’s movie.

I grew up watching horror playthroughs. One of the first games I ever watched someone else play on YouTube was Telltale’s The Walking DeadThe video game later got me interested in watching the TV show, The Walking Dead until its emotional finale. But from that first playthrough, I started to become fascinated with horror games, and as my love for horror movies and TV shows grew, so did my obsession with horror games and the playthroughs that would come from YouTubers.Regardless, Five Nights at Freddy’s was one of those games that I watched many YouTubers play. And I wound up playing it on several occasions, from the first to the 2021 release of Five Nights at Freddy’s: Security Breach (as buggy as it was). And when I found out there would be a Five Nights at Freddy’s movie, I freaked out. 

I kept up with every FNAF trailer and every update, and when it was finally released, I went out to see it. And yes, I thoroughly enjoyed it. I will explain my reaction– and why it’s alright that critics might not have liked it. Although for me, it was perfect. 

(Image credit: Universal Pictures)

Josh Hutcherson Killed It In The Main Role 

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Armessa Movie News

How social media influencers are transforming film marketing: “They reach audiences that traditional publications just don’t” – Armessa Movie News

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The importance of social media influencers in a film’s release campaign has been cemented in a year that has seen US actors unable to promote their films due to the SAG-AFTRA strike, while the success of Warner Bros’ July release of Barbie perfectly illustrated the ability of social-media influencers to reach the tricky Gen Z audience.

But is the line between film journalism, film criticism and social media influence becoming blurred? And if it is, does it matter?

In the UK, whether it involved posing with Margot Robbie on the pink carpet, sipping Barbtini cocktails at the Savoy Hotel, or simply watching the film prior to its release, influencers were urging their legions of followers to see Barbie.

“They were showing something the typical everyday person cannot get to experience,” explains influencer talent manager Jamie Sharp. “It was all about invoking FOMO [fear of missing out] and getting people wanting to go to the cinema to join in.”

In the build-up to a film’s release, an influencer can secure an invite to one of three screenings depending on their reach: a multimedia screening; an influencer screening at an ‘Instagrammable’ venue; or the official premiere. The threshold for each tier can vary but Sharp, managing director of the agency Sharp Talent, suggests that for major premieres like Barbie it can be as high as 250,000 followers, unless you have a particularly well-matched audience niche.

Two of Sharp’s clients made the cut for the Barbie premiere after they were “submitted” by the agency for the shortlist. Payment for attending premieres is rare — though sources tell Screen International some were paid for Oppenheimer events — as the exposure and experience is often enough. “With something like Barbie, it was so popular that [influencers] knew they could make great content from it and build their own popularity,” says Sharp, whose clients are mostly beauty and lifestyle influencers with a target audience of women aged 18-30.

Sharp’s two influencers collectively posted more than 30 pieces of content across a 24-hour period with a reach of around a million people. “And it cost Warner Bros absolutely nothing,” Sharp is quick to point out. “You try and find any other means of advertising your film to a million people for nothing.”

Unwritten rules

Annie McMonagle-Wilmot, who heads the filmed entertainment team at London-based PR agency Premier, says there is no official requirement for influencers to post about a screening if they have not been paid. “There’s an unwritten understanding that if they’ve attended an event and they’re enjoying it and getting great content, they’ll post about it,” she explains.

But it is not just about filling up Insta­gram feeds with snaps from the red carpet. Influencers have opinions on the films they watch too. In fact, social media embargoes are generally lifted prior to a reviews embargo.

The consensus on this strategy seems unclear and multiple studios either declined or did not return Screen’s request for an interview. Sharp points to the fast-paced environments of apps like Instagram and TikTok that require film to capitalise on trends as soon as possible, while McMonagle-Wilmot says it is about building hype. “There’s a fine line because you don’t want to give too much away too early [with reviews] but also you want to create a buzz and a ‘talkability’ around the film’s release,” she says. “That’s when social media comes in.”

Distributors cannot rely on influencers to go easier than critics on a film either. After attending a screening of Warner Bros’ Meg 2: The Trench, Sharp reveals a client of his labelled it “one of the worst films of 2023” on her Instagram story. “We always say that if an influencer is invited to a screening, they have full range to speak about the film both positively and negatively,” Sharp says. “But I’ll always tell [the influencer] to highlight a thank you and an appreciation for the invite.”

Anderson interviewing 'Spider-Man: Across The Spider-Verse' cast

UK-based influencer and actor Dujon Anderson, who posts content around Marvel, sci-fi and genre films, says that while “positive reactions” are often encouraged at screenings, he has never felt pressured to do so. “There comes a point where you have to take a stance and be like, ‘I do have an opinion on this film and that’s okay,’” says the 27-year-old, who has 40,000 Insta­gram followers. “It’s about being honest with your audiences. The fact that you’re discussing the film gets people talking about it and wanting to make their own opinion on it.”

In addition to attending screenings, Anderson often interviews actors on press junkets to create content for TikTok. When asked if he considers himself a journalist, he says, “the only real difference is that we’re marketing ourselves as well [as the film]”. His audience has the added bonus of not just watching the actor they like but watching their favourite influencer too. His interactions often have a different tone as well. “We’re just having fun with the [actor or filmmaker],” Anderson explains. “It’s important to show those actors as just human beings. Where journalists have certain beats to hit, we have, too.”

Among those who spoke to Screen, there is no desire for influencers to take over from journalists and critics. Premier’s McMonagle-­Wilmot insists film critics and journalists are “still priority” for a PR campaign.

UK entertainment publicist Amber Muotto suggests influencers are not replacing journalists so much as they are filling the spaces in a dwindling media landscape. “I’ve been in situations where it’s like drawing blood from a stone to get journalists to cover [a smaller title],” explains Muotto, who specialises in independent films. “When we’re not going to get those reviews we were hoping for, we have to pivot to influencers to fill those gaps.”

For the UK April release of Loving Highsmith, MetFilm Distribution’s documentary about novelist Patricia Highsmith, Muotto turned to ‘BookTok’ — a niche TikTok space for book lovers — to drum up hype for the film. “We had a good interaction with journalists on that [documentary] but it also made sense to reach out to people who had a genuine interest in literature,” notes Muotto. “Influencers reach audiences that traditional publications just don’t. They serve a different function, a different purpose. The two can coexist.”

As the SAG-AFTRA actors strike passes 100 days, some believe influencers could find themselves taking on an even bigger role in the film marketing machine as awards season cranks up. However, SAG-AFTRA warned that influencers continuing to work with studios could forget about ever becoming a member, and many individuals — even those who do not consider themselves actors — have chosen to not participate in campaigns beyond previous contractual obligations.

“Just because the strikes have happened doesn’t mean that we stop loving film and TV, but we do understand why they’re [striking] and we want to support that,” says Anderson, who is an actor himself. “But we don’t know how long this is going to take and what’s going to happen. And this is our livelihood too.”

It seems the presence of social-media stars in film campaigns is here to stay as the industry evolves with the zeitgeist.

“There’s still a lot of snobbery around the term ‘influencer’, but at the end of the day it’s about getting bums on seats,” says Muotto. “And getting as many people as possible to watch these amazing films and using all the tools at our disposal to do so. We all want cinema to still be here, don’t we?”



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– Armessa Movie News

I (33F) feel completely alone in my sexual experience. I am embarrassed and don’t know who to talk to about this. Any advise on how to calm my unhealthy sex drive?

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I (33F) didn’t loose my virginity until I was 22. From 22-28 I was with a man that was highly sexual and sometimes sexually abusive. He ended up cheating on me with men and women. I left him. My confidence was shattered and I obsessed over him cheating on me with men. Fast forward to now, I’m with a wonderful man who is alittle shyer in bed but so loving and kind and good to me. I met him about 5 months ago. After I left my ex, I didn’t date for about a year but then I basically went wild. I had sex with 15 men in a year. Basically I would meet them on tinder, get drunk and have sex with them either the 1st or 2nd night I met them. I had sex in cars in public places. Completely dangerous and I was like addicted to it. I started watching porn. I would see men and fantasize about being intimate with them. This gets more intense when I drink. I was doing a lot better but now I’m feeling this way again. I am wondering if I have given myself a sex addiction with how much I had in a short time. Maybe I should have put this on the sex addiction sub but I wanted to see if anyone had advice other than that I have a sex addiction.

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How social media influencers are transforming film marketing: “They reach audiences that traditional publications just don’t” | Features – Armessa Movie News

[ad_1]

The importance of social media influencers in a film’s release campaign has been cemented in a year that has seen US actors unable to promote their films due to the SAG-AFTRA strike, while the success of Warner Bros’ July release of Barbie perfectly illustrated the ability of social-media influencers to reach the tricky Gen Z audience.

But is the line between film journalism, film criticism and social media influence becoming blurred? And if it is, does it matter?

In the UK, whether it involved posing with Margot Robbie on the pink carpet, sipping Barbtini cocktails at the Savoy Hotel, or simply watching the film prior to its release, influencers were urging their legions of followers to see Barbie.

“They were showing something the typical everyday person cannot get to experience,” explains influencer talent manager Jamie Sharp. “It was all about invoking FOMO [fear of missing out] and getting people wanting to go to the cinema to join in.”

In the build-up to a film’s release, an influencer can secure an invite to one of three screenings depending on their reach: a multimedia screening; an influencer screening at an ‘Instagrammable’ venue; or the official premiere. The threshold for each tier can vary but Sharp, managing director of the agency Sharp Talent, suggests that for major premieres like Barbie it can be as high as 250,000 followers, unless you have a particularly well-matched audience niche.

Two of Sharp’s clients made the cut for the Barbie premiere after they were “submitted” by the agency for the shortlist. Payment for attending premieres is rare — though sources tell Screen International some were paid for Oppenheimer events — as the exposure and experience is often enough. “With something like Barbie, it was so popular that [influencers] knew they could make great content from it and build their own popularity,” says Sharp, whose clients are mostly beauty and lifestyle influencers with a target audience of women aged 18-30.

Sharp’s two influencers collectively posted more than 30 pieces of content across a 24-hour period with a reach of around a million people. “And it cost Warner Bros absolutely nothing,” Sharp is quick to point out. “You try and find any other means of advertising your film to a million people for nothing.”

Unwritten rules

Annie McMonagle-Wilmot, who heads the filmed entertainment team at London-based PR agency Premier, says there is no official requirement for influencers to post about a screening if they have not been paid. “There’s an unwritten understanding that if they’ve attended an event and they’re enjoying it and getting great content, they’ll post about it,” she explains.

But it is not just about filling up Insta­gram feeds with snaps from the red carpet. Influencers have opinions on the films they watch too. In fact, social media embargoes are generally lifted prior to a reviews embargo.

The consensus on this strategy seems unclear and multiple studios either declined or did not return Screen’s request for an interview. Sharp points to the fast-paced environments of apps like Instagram and TikTok that require film to capitalise on trends as soon as possible, while McMonagle-Wilmot says it is about building hype. “There’s a fine line because you don’t want to give too much away too early [with reviews] but also you want to create a buzz and a ‘talkability’ around the film’s release,” she says. “That’s when social media comes in.”

Distributors cannot rely on influencers to go easier than critics on a film either. After attending a screening of Warner Bros’ Meg 2: The Trench, Sharp reveals a client of his labelled it “one of the worst films of 2023” on her Instagram story. “We always say that if an influencer is invited to a screening, they have full range to speak about the film both positively and negatively,” Sharp says. “But I’ll always tell [the influencer] to highlight a thank you and an appreciation for the invite.”

Anderson interviewing 'Spider-Man: Across The Spider-Verse' cast

UK-based influencer and actor Dujon Anderson, who posts content around Marvel, sci-fi and genre films, says that while “positive reactions” are often encouraged at screenings, he has never felt pressured to do so. “There comes a point where you have to take a stance and be like, ‘I do have an opinion on this film and that’s okay,’” says the 27-year-old, who has 40,000 Insta­gram followers. “It’s about being honest with your audiences. The fact that you’re discussing the film gets people talking about it and wanting to make their own opinion on it.”

In addition to attending screenings, Anderson often interviews actors on press junkets to create content for TikTok. When asked if he considers himself a journalist, he says, “the only real difference is that we’re marketing ourselves as well [as the film]”. His audience has the added bonus of not just watching the actor they like but watching their favourite influencer too. His interactions often have a different tone as well. “We’re just having fun with the [actor or filmmaker],” Anderson explains. “It’s important to show those actors as just human beings. Where journalists have certain beats to hit, we have, too.”

Among those who spoke to Screen, there is no desire for influencers to take over from journalists and critics. Premier’s McMonagle-­Wilmot insists film critics and journalists are “still priority” for a PR campaign.

UK entertainment publicist Amber Muotto suggests influencers are not replacing journalists so much as they are filling the spaces in a dwindling media landscape. “I’ve been in situations where it’s like drawing blood from a stone to get journalists to cover [a smaller title],” explains Muotto, who specialises in independent films. “When we’re not going to get those reviews we were hoping for, we have to pivot to influencers to fill those gaps.”

For the UK April release of Loving Highsmith, MetFilm Distribution’s documentary about novelist Patricia Highsmith, Muotto turned to ‘BookTok’ — a niche TikTok space for book lovers — to drum up hype for the film. “We had a good interaction with journalists on that [documentary] but it also made sense to reach out to people who had a genuine interest in literature,” notes Muotto. “Influencers reach audiences that traditional publications just don’t. They serve a different function, a different purpose. The two can coexist.”

As the SAG-AFTRA actors strike passes 100 days, some believe influencers could find themselves taking on an even bigger role in the film marketing machine as awards season cranks up. However, SAG-AFTRA warned that influencers continuing to work with studios could forget about ever becoming a member, and many individuals — even those who do not consider themselves actors — have chosen to not participate in campaigns beyond previous contractual obligations.

“Just because the strikes have happened doesn’t mean that we stop loving film and TV, but we do understand why they’re [striking] and we want to support that,” says Anderson, who is an actor himself. “But we don’t know how long this is going to take and what’s going to happen. And this is our livelihood too.”

It seems the presence of social-media stars in film campaigns is here to stay as the industry evolves with the zeitgeist.

“There’s still a lot of snobbery around the term ‘influencer’, but at the end of the day it’s about getting bums on seats,” says Muotto. “And getting as many people as possible to watch these amazing films and using all the tools at our disposal to do so. We all want cinema to still be here, don’t we?”



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Source link

– Armessa Movie News

I don’t want to be a virgin anymore

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I (M 25) don’t want to be a virgin anymore, I turn 26 in just over three months.

I never wanted this and have always been super sexual, super interested in sex, and super curious about it.

I don’t really care who it’s with and I understand the importance of connection, consent, safety etc.

I just can’t take scrolling on my phone and seeing others do what I would’ve preferred to have done as a teenager…

Not sure what will come of me posting this, but I thought it might be worth a shot anyway. *sigh*

Also, please don’t throw a bunch of suggestions at me.
I’m doing my best and study psychology diligently.

I also have a chronic illness, so gaining muscles isn’t an option, plus I don’t believe that matters too much anyway.

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I have never had an orgasm, and I don’t think I like sex

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I am a 27 year old female. I wasn’t able to physically have penetrative sex until I had a surgery at 23ish.

I have always been a sexual person, and I masturbate almost every day. I have never had an orgasm before (not with a partner or by myself).

When I am with a partner I get very aroused and I enjoy everything that happens above the belt (and below belt touching), but once the actual sex happens it does nothing for me (this also includes me receiving oral sex). It feels fine (its not like it’s terrible) but it doesn’t really do anything for me. I usually just make the appropriate noises and wait for my partner to finish.

Does anyone else have this problem? Do you have any suggestions? I feel like i am crazy.

Before people ask, I have been with multiple partners (both female and male) and it is always the same thing. I’ve also tried a variety of positions.

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