kash 📺

The Hinge Chronicles - Episode 1 A finance bro in NYC goes on a series of Hinge dates encountering some odd personalities along the way

Trust Fund Time Machine - Pilot Episode Useless billionaire heir Hunter Vil and his time-traveling buddy, Genghis Khan, bungle their way through time, rewriting history to make Hunter’s evil father and his corporate empire even richer.

Trust Fund Time Machine - Pilot Episode Useless billionaire heir Hunter Vil and his time-traveling buddy, Genghis Khan, bungle their way through time, rewriting history to make Hunter’s evil father and his corporate empire even richer.

- Animation costs too much - Most of the animators he hit up are gone or dead - Use the money from his AI videos to hire real animators next time What a perfect way to ruin your reputation

You grew up watching cartoons. Now you can make your own. Introducing @fringe_film (ALL14), an AI animation studio that turns your stories into animated shorts and series. You direct each scene, while Fringe handles the prompts, models and editing, keeping characters consistent across episodes. Congratulations on the launch, @einrojo, @sloptronic, and @a_slidewhistle!

You grew up watching cartoons. Now you can make your own. Introducing @fringe_film (ALL14), an AI animation studio that turns your stories into animated shorts and series. You direct each scene, while Fringe handles the prompts, models and editing, keeping characters consistent across episodes. Congratulations on the launch, @einrojo, @sloptronic, and @a_slidewhistle!

SAG-AFTRA has voted to ratify TV animation contracts, giving voice actors a 12.6% wage increase and also enhanced protections around AI use, residual gains, and increases to health and retirement plans.

There are 12 basic principles of animation articulated by the 9 old men at Disney. Like design principles, they are true and they are in the best of all art forms. My beef with much animation is that they ditched the principles and broke "The Illusion of Life" with bad animation like The Simpsons, Anime and some computer animation. The animation principles on Wikipedia en.wikipedia.org/wiki/Twelve… When I look at this short by HaHaa, the principles are there in a way that it is often not in a lot of animation today. When we judge art, we're supposed to rely on principle, not just personal preference or fashion. This animation exhibits all 12 animation principles. It is a logical genetic fallacy to exclude its exhibited principles based on the source. Squash and stretch is squash and stretch no matter who or what does it. What's important is that the principles are used. Ai will bring back many old things that were true but forgotten.

‘MOUNTED,’ a new adult animated mockumentary comedy from Pinkie Davis and A Studio Digital, is now free on YouTube. The mini-pilot follows incompetent police horses patrolling an outlet mall in California’s Inland Empire (Link Below).

Harry can't catch a break.. #malfoid #dumbledore #DOBBY #AIイラスト︎ (made it at fringe.film - check em out)

There's a reason for this. Hollywood lives off existing IP. It's their cash cow. New IP has a much higher risk profile. Take Pixar as an example. The only way they can fund new IP is if they keep generating enough cash from existing IP. That's why we've seen 5 Toy Story movies (I love them though). We need more stories to be told ASAP and the existing studio system isn't gonna make that possible.

UNPOPULAR OPINION: SOME MOVIE FRANCHISES SHOULD HAVE ENDED AFTER THE FIRST FILM. And Hollywood needs to learn when to leave a good thing alone. Not every successful movie needs a sequel. Not every compelling story needs a trilogy. And certainly not every beloved franchise needs prequels, spin-offs, reboots, legacy sequels, and an entire cinematic universe built around it. Sometimes, a movie is lightning in a bottle. The story is complete, the characters have served their purpose, the ending leaves you with something to think about, and the final scene lingers in your mind long after the credits roll. THAT SHOULD BE ENOUGH. But Hollywood sees a successful film and immediately starts asking how many more times it can squeeze money out of the same idea. Suddenly, a perfectly satisfying ending becomes a setup for another installment. Mysteries that were better left unexplained get unnecessarily answered. Character arcs that were beautifully completed get dragged back to square one. And stories that once felt revolutionary slowly lose their magic through repetition, diminishing returns, and increasingly desperate attempts to outdo the original. And the most frustrating part? Sometimes the first movie was so good precisely BECAUSE it didn’t need anything else. Take THE MATRIX, for example. The original film was a groundbreaking piece of science fiction that challenged our understanding of reality, free will, identity, and the systems that control us. It gave us an iconic visual language, unforgettable action sequences, and an ending that opened up a world of possibilities. Neo’s awakening was the entire point. The mystery, the philosophy, the atmosphere, the sheer audacity of the concept — it was lightning in a bottle. Did we really need to keep going? For me, the original could have stood on its own as a near-perfect cinematic experience. Not every unanswered question needs an answer, and not every fascinating world needs to be endlessly explored. Then there’s THE TERMINATOR. The first film was a tightly constructed sci-fi thriller with a terrifying premise, a relentless sense of dread, and a story that knew exactly what it wanted to be. TERMINATOR 2: JUDGMENT DAY is one of those rare sequels that genuinely justifies its existence, arguably becoming a classic in its own right. But after that? The franchise increasingly struggled to recapture what made those first two films so special. At some point, you have to wonder whether Hollywood is continuing a story because there’s genuinely more worth saying or simply because the title still sells tickets. And this is where I think the industry gets it wrong: A FRANCHISE IS NOT AUTOMATICALLY BETTER BECAUSE IT’S BIGGER. More lore doesn’t necessarily mean more depth. More installments don’t automatically mean better storytelling. And bringing a familiar character back for the fifth, sixth, or seventh time doesn’t guarantee that audiences will feel the same magic they felt the first time around. Sometimes, the most respectful thing a filmmaker can do for a great story is let it end. Give us original ideas. Give us new worlds. Give us characters whose stories have a beginning, a middle, and an ending. Let a masterpiece remain a masterpiece without forcing it to become a content pipeline. Because I’d rather have ONE extraordinary film that leaves me wanting more than a franchise that keeps giving me more until I no longer want any of it. So, let’s hear it: WHICH MOVIE FRANCHISE SHOULD HOLLYWOOD HAVE LEFT ALONE AFTER THE FIRST FILM? For me, it’s THE MATRIX — and while I absolutely respect what TERMINATOR 2: JUDGMENT DAY achieved, I think the franchise should have been far more selective about what came after it. What’s your pick? And don’t just name the franchise. Tell me which sequel, prequel, or unnecessary continuation made you wish Hollywood had simply left well enough alone.

This is the harsh truth about AI vs making a real movie