A couple of things are distinct about TIFF. First, the festival opened a permanent space known as the TIFF Bell Lightbox in 2010. Located in a centrally coveted Toronto neighborhood, the expansive facility serves as the organization’s headquarters and heart of the festival but also as a center for archival research, media education, and cultural events throughout the year. Second, TIFF is a public festival open to anyone and everyone without a formalized film market as is the case with its peer festival of Berlin or Hong Kong. The majority of attendees are the general public with only a small percentage holding industry credentials. On the one hand, essentially anyone can go online or to a theater venue to buy tickets for any film featured in one of the sixteen film series. On the other hand, access is still a major factor. For films with significant buzz or bigger stars, tickets may sell out quickly for any of the two to three public screenings. Yet, audience members can “rush” a screening an hour or more prior to the start time to purchase any available tickets. Industry credentials provide another layer of access and are available to professionals including buyers, sellers, filmmakers, producers, and more recently scholars. Access to an industry badge reveals a more multi-faceted view of festival activities beyond public screenings and red carpet premieres. Industry passes allow entry to closed press and industry screenings as well as a separate industry conference with a week of panels discussing the current state of the film business.

Finally, TIFF is classified as a non-competitive festival. Film selections are not categorized as “In Competition” nor does it offer competitive prizes awarded by a high profile jury in the case of Cannes, Berlin, or Sundance.[1] The major award emerging from TIFF is the People’s Choice Award. General attendees vote over the ten-day period by dropping a film ticket of their choice into a voting box gathered by festival volunteers. The Irish-Canadian co-production Room (2015, dir. Larry Abrahamson) won the 2015 People’s Choice Award. Some festival films often exchange or parlay premiere coverage and critical reception into a Hollywood award season run from industry guild awards to the Academy Awards. Upon the announcement of Room‘s People’s Choice win, Deadline Hollywood and The Hollywood Reporter began speculating about the film’s Oscar prospects. The capital or value garnered from a film’s TIFF positioning and subsequent promotional campaign may unfold over time through a subsequent industry award season performance to a successful theatrical and/or home entertainment release. In other words, the lifespan of a film’s financial, cultural, and industrial impact only begins in Toronto.

Beyond its impact on the local economy, urban redevelopment, and Canadian film industry, one of TIFF’s function is to position and launch recent film premieres of large-scale Hollywood studio productions like Ridley Scott’s The Martian starring Matt Damon or Scott Cooper’s Black Mass featuring Johnny Depp. TIFF also programs and supports a number of international art house fare and first-time filmmakers including Deniz Gamze Ergüven’s Mustang or Simon Fitzmaurice’s My Name is Emily, respectively. As a media industries scholar who primarily utilizes fieldwork, industry interviews, and participant observation, I was struck by the varied networks of promotional activities during the event. I ground this initial discussion in a rich tradition of film festival studies that incorporates ethnography and insider positionality to explore film festival dynamics. Particularly, using the case of Room, I was able to trace the film’s circulation and promotional activities across the festival’s short period by attending a number of events from the initial press conference encompassing around 40 journalists to a press screening full of critics, journalists, buyers, and so on. Each festival space operates by its own distinct rules and culture yet is bound by a similar trajectory of promotion and spin. The tightly controlled press conference Q&A featuring the director, screenwriter/author, and central cast was structured differently and offered a unique tone from the largely casual morning press screening or highly ritualized public premiere and celebratory Q&A afterwards with director and cast.

In addition to my own investment in exploring an on-the-ground methodology, I had a pedagogical opportunity to experience the festival alongside a group of my Oakland University undergraduate students. My colleague Brendan Kredell and I spent the past year organizing a student trip to TIFF to correspond with a team-taught course on film festivals that we are teaching during the fall 2015 semester. A group of 18 students, comprised of junior and senior Cinema Studies students from our university, attended screenings, industry conference panels, red carpet events, and OU-organized master classes. Since there are over 400 films screened each year at TIFF, each student curated or created their own experience shaped largely by the chosen film series, panels, and events they attended. As part of our film festivals course, the students conducted their own fieldwork keeping research notebooks, posting daily blog entries, shooting footage for a short documentary, and participating in a class podcast. The trip served as a pilot program combining an interactive festival experience with creative production projects, film criticism, industry research, and professionalization opportunities.

By combining my interest and investment in the media industries as a teacher-scholar, Toronto International Film Festival offered a number of opportunities to examine festival structures, film cultures, reception activities, cultural geographies, and industry dynamics for myself, my colleague, and our students. As the Toronto-based event evolves each year, so does the scholarly and pedagogical project. For example, the festival introduced a series this year called Primetime featuring television dramas. While the relationship between television and film festival is not a new one, it does signal a shift in TIFF’s structural organization and how it may be reimagining its brand. As TIFF evolves to reflect the changing nature of the media industries, it provides a temporal learning experience and experiment for exploring the complexities and dynamics of global media as well as expanding our classroom beyond the walls of the university.

[1] A new film series—Platform—was introduced this year and featured a dozen “best of international cinema” selections bound outside of any country quotas. In celebration of the festival’s anniversary, a jury was chosen to judge the Toronto Platform Prize for best film in this category. As I learned from a conversation with my colleague Brendan Kredell, the international film festival body FIAPF grants TIFF a special “non-competitive” status unlike peer competitive festivals Cannes and Berlin.

The show’s producing team combines SATC’s creator (Candace Bushnell), GG alum (Josh Schwartz and Stephanie Savage), and former SATC writer turned showrunner (Amy B. Harris). The series chases the network’s target audience and the CW teen drama formula. Yet, it also marks the SATC franchise’s continued shelf life and ability to regenerate across multiple platforms and generations. Based on the first couple of episodes, The Carrie Diaries reflects three key aspects of contemporary franchising:

1. Cross-company convergence

The Sex and the City franchise history is a journey through Time Warner’s various media divisions and institutional changes since the 1990s. Significantly, the franchise is flexible enough to work and adapt to the production practices and specific brands of three Time Warner divisions—HBO, New Line Cinema, and the CW. The SATC series (1998-2004) helped to build HBO’s model for edgy and “quality” adult programming by focusing on the sex, relationships, and female friendships of Carrie, Samantha, Charlotte, and Miranda. After the series ended in 2004 it continued to benefit from strong DVD sales and syndication across Time Warner owned networks like TBS.

Within four years, SATC jumped to the big screen under Time Warner’s New Line Cinema, a specialty division built on male-oriented genre and B films. New Line’s management was restructured and a portion of the production schedule refocused on mid-budget female dramas and rom-com vehicles. Due to 2008 film’s strong box office performance, many industry professionals argued historically overlooked and underserved female audiences were finally “Winning the B.O. Battle of the Sexes.” New Line’s cycle of romantic comedies released between 2008 and 2011 quickly cooled. The critically panned 2010 sequel underperformed and led Mr. Big himself to declare the film franchise is dead. Yet, SATC persists in spite of the movies. This is due largely to the expansion of Bradshaw’s world beyond the initial series and away from its dependency on Sarah Jessica Parker.

The Carries Diaries brings Bradshaw back to television. Launched in 2006, the CW (a joint venture between Warner Bros. Entertainment and CBS) built its brand and audience on young adult dramas targeted at 18-34 women. The series also follows the model of adapting popular young adult books (Gossip Girl and The Vampire Diaries) into one-hour serial dramas. Despite cries of diluting or sanitizing SATC into a bland rom-com or inconsistencies between the HBO and CW series, the SATC property is managed in a fairly organized and collaborative process across creative teams and Time Warner divisions. Most notably, the franchise fits a variety of institutions, platforms, and demographics from niche to mainstream to youth.

2) Cross-property “Carrie-overs”

Labeled a female icon and fashionista, Sarah Jessica Parker is synonymous with her TV character Carrie Bradshaw (as well as launching the cupcake trend and giant flower accessories). Yet, rebooting the franchise requires disconnecting its protagonist and the SATC universe from Parker. As illustrated by recent comic book film reboots, franchising practices are less about rebooting beloved stars and more about recreating story worlds (sadly, RDJ can’t play Iron Man forever). So, how much of SATC is Carrie-d over? The Carrie Diaries relies heavily upon a few franchise conventions, namely the first person voiceover, fashion, and Manhattan. The central narrative device continues to be Carrie’s voiceover. Her opening and closing monologue frames each episode, ties together storylines, and offers a look into a young writer’s thoughts on love and friendship. Instead of a busy Manhattan lifestyle and casual sex, Carrie negotiates suburban teenage problems alongside her three friends (Mouse, Maggie, and Walt). The foursome navigates virginity, coming out, rivals, and breakups at their local diner. Her “Carrie style” voiceover wrap up the storylines by the final scene. Episode 2 ends not with Cosmos but complaining about their ex/boyfriends over peanut butter and crackers in Carrie’s kitchen.

Carrie’s budding relationship with Manhattan parallels the clumsy and alluring motions of teenage love. Due to an internship and unlikely friendship with a fashion stylist, Carrie takes audiences on a journey through 1980s New York (albeit a far less gritty and edgy one than most New Yorkers remember). This Carrie’s Big Apple is based on a 1980s illusion of spandex, big hair, full skirts, and heavy cell phones.

3) Cross-generational access

The Carrie Diaries offers different access points into the franchise for Gen Xers, Millennials, teens, etc.. Familiarity with the HBO series is not necessary but does rewards knowledgeable viewers with “Carrie-overs.” Yet, the show’s central aim is to introduce Carrie Bradshaw to a new TV generation. SATC’s post-film viability is its ability to appeal to different audience segments. (This accessibility is limited though, particularly considering how the franchise projects a narrow view of white girl privilege). The show capitalizes on contemporary 1980s nostalgia by featuring popular songs and period fashions. The costuming offers a level of access and participation for younger fans. As a departure from Parker’s Bradshaw gracing Vogue, Robb’s character has inspired a string of YouTube fashion guides (here; here). As part of a young female produced video genre offering fashion advice and online community, one key entry point for younger audiences has been these materials for fan interaction and consumption through digital platforms. Whether Dior or DIY, SATC still promotes female agency through consumerism.

One of the most significant features of this franchise is its adaptability and ability to transcend production models and multi-generational fan engagement within different industrial moments. In the end, it may be too soon to tell how The Carrie Diaries fares. Yet, I have my suspicions that we have not heard the last from Carrie Bradshaw.

There are a multitude of resources available for CV formats, interview tips, and fashion advice. Saving strategy sessions for those more qualified, I am concerned with your sanity. The academic job market takes an immense emotional, mental, economic, and physical toll on everyone. Many times, especially as an ABD, you feel powerless. You have the right to guard your emotional well-being. There are ways to manage the isolating and often unspoken struggles being on “the market.” Here are seven (not exclusive) ideas to start the conversation.

1) Find a support system:
Talk to your partner, friends, family, therapist, etc. Communicate with your advisers and don’t be afraid to ask for help. Spend time with people who care about you. Create a support group in your cohort and complain about the market over happy hour or coffee dates. I had a weekly date with a close friend from my program. We drank cava and encouraged each other to keep going. Make friends with people outside of your department at conferences and check in frequently. These are the people who understand the rollercoaster you are riding. Don’t be embarrassed to reveal your insecurities. We have all been in your position and want to see you succeed.

Family and friends outside of academia will not get it. Best scenario: they are super encouraging but still confused. Worst scenario: they don’t understand why you can’t get a job and are living on student loans. My amazingly supportive husband and I practiced canned answers for family functions. He graciously fielded “Why can’t you get a job in Texas?” “Can’t you just apply anywhere?” In turn, I reassured people (and myself) I am okay and it will take time.

2) Don’t worry about anyone else:
Brazilians have a wonderful expression that loosely translates to “Every monkey on their own branch.” The job market is an individualized process. Focus on your materials, progress, and worries inside your head (then tell them to shut up). My lovely friend Kristen Warner always said: “Run your own race.” If this is a marathon, concentrate on your pace and ignore others. Trust me, you don’t want to go down that road. Don’t get caught up in who is applying where or landed interviews. If you start comparing yourself to others, you will go crazy. Also, ignore anyone who is braggadocious about their application process (and be sensitive when blasting your success everywhere). To quote my dear friend Racquel Gates: “In the long run, collegiality is better for your soul than competitiveness.”

3) Step away from the AcaWiki!:
This is a toxic space. Trust me, this is for you own good.

4) Don’t take it personally:
I know. This is so much easier said then done. If you don’t move forward, this is not about you nor a reflection of your scholarly potential. Instead, know the quirks of a search committee are driving this train. Don’t try to read their minds. Every department has a different idiosyncratic dynamic. They are looking for a particular research, teaching, and personality “fit.” Be careful hanging all of your self-esteem on whether or not Southern College requests more materials. Many of you have spent money and at least a decade in school to obtain the PhD. This is a hard one. As Conan O’Brien reminds us: “No specific job or career defines me and it should not define you.” Remember you are multi-dimensional person and be careful defining your worth solely through academia.

5) Find your release:
Leave your office and do something you enjoy. This will be different for everyone. For many in my cohort, yoga and running helped us relax and get grounded. Living in Austin, I went to live shows. Music became a therapeutic release resulting in my own ATX-themed playlists (see: here, here, and here). Not only did this take my mind off the uncertainty, it helped me stay present and enjoy my current city (and worry about where you will be next year). For you, it might be baking, gaming, shopping, playing with your kiddo, cleaning, etc.

6) Give yourself a break:
This is a universally stressful process. You may be tired or emotional all of the time. You may cry at inappropriate moments (raises hand). You may be grumpy with your roommate or partner. You may sit around and watch multiple seasons of Misfits or Vampire Diaries (raises hand again). This is a normal side effect of the market and that is okay. You don’t have to be strong all of the time or pretend you are not struggling. Own your emotions and be kind to yourself.

7) Keep a routine and then let it go:
A friend told me he only worked on job materials one day a week. After starting this routine, I found myself able to relax and focus on finishing my dissertation, conference papers, etc. Checking your email 30 times a day will not make a committee’s email magically appear (goodness knows, I tried). My parents have a motto (thanks, Teddy Roosevelt): “Do what you can, with what you have, wherever you are.” Know what you can control on your end and then let it go. You will be a happier person for it.

A huge thanks to Racquel Gates, Hollis Griffin, Kevin Sanson, and Kristen Warner for their sharing their experiences with me for this post.