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fans4wga · 1 year ago

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26 July update from WGA's Chris Keyser

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From the WGA: With SAG-AFTRA now on strike and new levels of solidarity across all Hollywood unions, we are witnessing the spectacular failure of the AMPTP’s negotiating strategy. In this video, WGA Negotiating Committee Co-Chair Chris Keyser lays out what this moment means and how we move forward. To learn more about the WGA strike, visit https://www.wgastrike.org.

FULL TRANSCRIPT:

Fellow members of the WGA East and West. It's been a while since our last video and quite a bit has happened in the meantime. So on behalf of the negotiating committee and leadership, I wanted to give you an update on where we are and what the near future at least is likely to bring.

We've been walking side by side on picket lines in New York and Los Angeles for a little over 12 weeks now. Only now we're joined by thousands upon thousands of members of SAG-AFTRA who, like us, have finally had enough.

This is the endpoint and the fruit of the AMPTP’s game plan. For 11 weeks, they negotiated with everyone but us. They claimed it was just practicality, that they could only do one thing at a time, which is not normally a point of pride. But events have made clear what we knew from the start: that not only was it a strategy, it was their only strategy. Negotiate a deal with a single guild and impose that deal on every other guild and union in Hollywood, whether it addresses the needs of those unions or not, all with the implicit threat: if you want more, strike for it.

Wow. It’s their 2007-8 playbook applied to 2023 as if nothing has changed, as if the accumulation of economic insults and injuries inflicted on us over the past decade would be borne in perpetual silence, as if the giant of labor had not awakened. But it has. And you only need to look as far as the front gates of every studio in LA and New York to see the evidence.

Two unions on strike willing to exercise their power, despite the pain, to ensure their members get the contract they deserve. For us, that means addressing the relentless mistreatment of screenwriters, which has only been exacerbated by the move to streaming; the continued denial of full MBA protection to comedy variety and other appendix A writers when they work in streaming; and the self-destructive unsustainable dismantling of the process by which episodic television is made and episodic television writers are paid.

It means addressing the existential threat of AI and the insufficiency of streaming residual formulas, including the need for transparency and a success-based component. All of these will need to be addressed for there to be a deal because in this strike it is our power and not their pattern that matters, not their strategy. Their strategy has failed them. Now they're in the midst of a streaming war with each other, an admittedly difficult transition. And as they face the future, their interests and business models could not be more different from Disney to Sony to Netflix to Amazon.

We root for their success, all of them. They root for each other's failure. We are the creative ammunition through which they will succeed. They are each other's apex predators. And yet, in a singular shared dedication to denying labor, they have shackled themselves together in what increasingly seems like a mutual suicide pact, as the 2023-24 broadcast season and the 2024-25 movie schedule and its streaming shows disappear, melt away week by week.

So what does this mean? What does it mean going forward? How do you play chess against an opponent who insists on screaming checkmate at every move regardless of how the board looks and the game is going?

You stay firm, you stay resolved, because our cause is no less existential than when we started and our leverage is increasing every day. Alone we withheld our labor with the support of our union siblings and the Teamsters and IATSE and the Crafts, we were able to delay the vast majority of production. Now with SAG-AFTRA on strike, those few studio projects that remained have also shut down. And it's not just the obvious delays. If this strike drags on, it's the actors with conflicting obligations and the directors and the double-booked studio facilities and release date chaos that the companies must now also contend with. Some of their most valuable product could well be delayed for years.

Add to that, no promotion of movies or television shows and famous faces on the picket lines and social media speaking directly to their customers. For the tech companies and the mega corporations, that should be their nightmare scenario: WGA and SAG-AFTRA side by side. Our bargaining agenda may not be identical, but our cause is the same. Our army of labor, defending labor has increased 17-fold in the past two weeks alone.

Even so, even with all this wind at our backs this negotiation won't happen overnight. It's not because the negotiations themselves are so complex. Once the companies fully engage, it could go very quickly, but because their strategy of many decades has just fallen apart and they didn't see it coming, and it's going to take them a minute to regroup, 'cause the companies have things to work out internally, and saying no to labor in unison is a lot easier than saying yes. So either together or separately, as their divergent interests might suggest, they will come back to us, despite their understandable concern about how they've navigated this transition to streaming, which is on their heads and not ours; and their worries about costs and their worries about Wall Street; despite this being a season of doom and gloom, none of them are walking away from the riches of this business, and certainly not over the equitable minimum compensation to writers.

They didn't get the deal they wanted; that's fine, it happens all the time. They're not taking their ball and going home over it. And since we know they come from union families themselves, and since they've denied that “even-in-Hollywood-you-have-got-to-be-kidding-me” ugliness of threatening to starve us out and leave us homeless (which we assume they understand also means making our children homeless,) they will come back to us. Although I will say they took a long time to deny that statement, longer than I would have had it been ascribed to me.

But what does it matter? You can starve a labor force slowly or quickly. The effect is the same. It's not like day rates for comedy variety writers and endless free drafts for screenwriters in exchange for a single paid one in four-week mini-rooms isn't cruelty. It's just cruelty written in contract language instead of a press quote.

So what can we expect from the companies as all of this plays itself out? They will try to convince Wall Street that taking a strike, prolonging it unnecessarily, losing their content stream in the process—that all of that is just smart business and no reason for investor concern. We will be talking to Wall Street too, and reminding them that for all these companies, all of 'em including Netflix, the bill, the price for making nothing, will eventually come due. And Wall Street is listening already. Here's Michael Pachter, managing director of equity research at Wedbush on Yahoo Finance the other day: “I think the studios are completely wrong on this one. Content is their lifeblood. They're feeling really foolish about this."

Wall Street isn't the only one listening. We've been talking to union pension funds too about the risks the companies are taking. We talked to CalPERS, the largest public pension plan in the country, talked about the loss of programming and the cost to the industry, and we heard strong support from its board for our struggle and the promise that the companies will be hearing from them, from CalPERS, and demanding answers on behalf of its 2 million members.

To us, of course, they will continue to plead temporary poverty, but we know the drill. These companies support billions into the streaming wars and taken short-term losses these past three years, because they know that to the winner will go the spoils. We're patient, will they share that with us when the time comes? What are the chances?

Since 2017, the last time the studios negotiated with us outside of COVID, the big six companies alone have made $150 billion in profits off our work, while they slashed our pay and degraded our working conditions. Maybe if they had shared a tiny piece of that then, made $1 billion or so less, this year wouldn't seem so costly. As it is, there is no iron law that these companies are entitled to record profits every year, and it isn't some great travesty if their shareholders or their CEOs get a slightly smaller slice of the massive profits we helped create if some balance is restored.

Look, no one denies that corporations exist to make a profit and no one wants our employers to be profitable more than we do, but the singular pursuit of corporate profits to the exclusion of their social and human cost is a real problem in this country—it’s a real problem. A corporation's bottom line is not the same as the world’s, and there is nothing in our studio's bottom lines today that accounts for the quality of our lives or for our dignity, for the comfort of our retirement or the security of our families. Their numbers have no conscience, but the people who report them as victories ought to.

In their refusal to recognize that, these companies have also extracted an awful price, which is laid at their feet and for which they are responsible. Losses to the economies of New York and Los Angeles and everywhere that film and television are made, terrible losses that mount every day, thousands of people out of work; not just us, all the crews, the crafts, the janitors, the drivers, the businesses that thrive when Hollywood thrives, the restaurants, the stores—for what? For nothing. So they could avoid coming to the table to negotiate the deal they will one day give us. Measured today that is the painfully mixed legacy of our employers, weighed against every beautiful piece of work we have made with them.

And if history is a guide, they have only temporary stewardship over a kind of national trust, which is Hollywood. Our story, our sometimes conscience, our public conversation, our diversion of the worst and best of times, our greatest export, the repository of our imagination. They have some obligation to more than just their shareholders to behave accordingly.

Unfortunately, it seems big tech, mega corporations, and some of the people who run them, as the saying goes know the price of everything and the value of nothing. So they have built a business model that no longer works for human beings who cannot be paid minimum for 10 to 20 weeks a year and make a career out of that, be paid for one draft of a screenplay that demands a year of labor, be paid a few episodic fees for a show about which to take years to decide be paid a daily rate.

And now we have a first glimpse of what they offered our actor colleagues. We are not 170,000 Willy Lomans to be used and then discarded. We know what the companies believe they have the power to do. We know what they think machines can do and do without any of us. Oh yeah, we've seen the writing on the wall and it's plagiarized.

The thing is this: the difference between what you CAN do and what you SHOULD do is the greatest single difference in the world. Knowing that is the only real protection we have against a dystopian future. And if the companies sometimes forget that, writers will do it for them.

I can't know exactly how long it will take this revolutionary moment, and you've heard again and again what is happening today has not happened in 63 years, but I know that's not always how it feels, revolutionary and defining, even though we celebrate that on picket lines together, which is the right thing to do. That's not always how it feels when you go home at night. I know how tough this is: to strike, to hold the line. I know it gets tougher every day even with SAG-AFTRA marching beside us, how hard it is to face the uncertainty of when it will end, when we'll get back to work, how we'll pay the bills. I know it's hardest for those who've just gotten started, for those for whom the world opens doors more reluctantly, battled their whole life just to get here; but hard too for those struggling to maintain their long careers, who find work tougher and tougher to come by, or those with families with children or parents to take care of.

These companies understand the cruelty of what they're doing. It's their plan to starve us just a little, to exact as much pain as they can so that we wish more for the pain to end than for the better life we dreamed up. That we're more afraid of the uncertainty of the present than the certain devastation of the future. It's societally acceptable economic torture inflicted by management on labor every day, then blamed on labor for daring to fight back, for refusing to be complicit in its own mistreatment.

Here's how I know that's not going to work. Not with us, not with the writers, because we haven't come all this way, fought to have these careers in the first place, all the adversity, and marched together for all these months, only to let it slip away on our watch—because there is no point in rushing back to jobs that may not be there in a year or two anyway. Because the business, as the companies have twisted it, is now untenable, unsurvivable for so many of us, because even success is not enough to keep going, because this guild is younger than it's ever been and more diverse. And this young diverse membership knows from hard personal experience the system is broken and that it will not be fixed unless they fix it. And those of us who came before them will not let them down, because we and the writer's guild are the beneficiaries of all those who came before us who gave up everything for us.

Like the writers of 1960, the year I was born, who struck for 22 weeks and who gave away all the TV residuals for all the movies they had ever written so that we could have a health insurance and pension plan and residuals from that date forward. $15 billion flowed to writers and their benefit plans because of that sacrifice. Because writers are brave, because now it's our turn.

So what's our job? Even as we welcome SAG-AFTRA to our side, we are still responsible for our own deal, and so we must remain focused and diligent. We must continue to march, picket signs in hand. But we should also remember this and with pride, that before there was SAG-AFTRA, before even the Teamsters and IATSE and the laborers and the electrical workers and the musicians and the plasterers came to our side, there was the writers. Alone then, we looked at the blank page and began to imagine the future. With no net but each other we typed the words, what if?

And then we took a step into the darkness and found that it was light. And then we were joined by the crews and the drivers and the actors. The actors got a bit more fanfare when they showed up, but that's okay, we wrote the script. The WGA, still small, not alone anymore after all these decades. Hollywood labor has finally linked arms and found its voice, and that voice says enough. There is no road to longterm prosperity that burns a path through your own workforce. We are not your enemies. We are not merely a cost to be borne. We are your partners and your greatest asset. And we are, as you acknowledge yourselves, irreplaceable, but by accident or design and it doesn't really matter anymore, the business you are running no longer works for those who work for you.

What is the point in continuing to deny that? Why deny it when everyone else in the business to a person tells you it's true? Do you think it's a coincidence that two unions are on strike against you for the first time since Eisenhower was president? You can't exactly accuse us of being quick on the trigger. The effect has a cause, it has a cause. And there is no profit in insisting on the answers to the past for the questions of the future.

But if you want instead to invest in something that will reap you fortunes, I have a tip. And if you are visionaries, envision a solution, not a stalemate. Because this isn't a war we're in, it's a negotiation, it's just a negotiation. There is no face-saving here for either side, because there is no winner or loser. It's just a deal. And when you come to remember that again we will be here as we have been here all along.

And at this point with 170,000 writers and actors aligned against your intransigence, that is as generous as I can be, as close to an olive branch as I can offer. But if you insist instead on the same threatening rhetoric, on saying you would rather starve us than pay us, I would remind you of this: You are fighting for a dollar, we are fighting for survival. We are fighting for our home: writing is where we live, and we will defend that home with a bravery and stamina and ferocity that you will come to understand someday, which is why you cannot break us. You cannot outlast us, you cannot.

And not just because we have the will, because we have power. Nothing in this business happens until we start to write. And we will not start to write until we are paid.

Union now. Union forever.

#sag-aftra strike #sag strike #actors strike #union solidarity #i stand with the wga #wga strong #wga solidarity #fans4wga #Youtube #wga strike #writers strike

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trans-elrond · 2 years ago

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fantastic rebuttal to "writers don't deserve better pay because the stuff they write is terrible/unoriginal", full thread here

(to explain, the "Unknown" under his name is from a add-on bot detector; it usually can assign a percentage likelihood that a user is a human being and not a bot, but I think the blue check system disrupted the add-on so it says "Unknown" underneath his name now.)

[image id under the read more:

May 7, 2023 tweet thread from Tom Vaughan @/storyandplot

With #WGAStrong rightfully in the spotlight this week, I've seen some less-than-sympathetic comments focusing on the lack of originality in our projects. This is a fair criticism of the system, but not the writers. A quick history of how we got here (thread emoji)

The first thing to understand is that Hollywood has NOT run out of new ideas. The studio’s preference for I.P. has nothing to do with regurgitating ideas and everything to do with MARKETING.

The late 60s-70s is generally considered the artistic high of the studio system. Ironically, many contribute this to corporations buying up the studios! The corporations knew they had no idea how to run a movie studio, so... they put creative people in charge.

This is how you got the run of so many great films the studios would never make today. They also took bigger chances on young, promising talent (the first "film school generation" of filmmakers.)

But with the success of JAWS and STAR WARS, the corporations demanded more of those kinds of hits. The creative folks insisted such things were unpredictable, and the business folks said let's make them less so.

(Sidenote: This was also the same time a completely different phenomenon was happening. A/C was becoming the norm for theatres, making summer movie-going much more attractive.)

Over the next decade, more and more MBAs and marketing people gained influence in the studio system. Being business folks, huge hits were not a creative problem as much as a product/marketing problem.

The 80s is when the “high concept” became pre-eminent because it narrowed a sales pitch to one sentence, a trailer, and a poster. This made everyone a marketing agent for a movie because everyone could explain what it was about!

In the 90s, marketing became just as important as the film itself (reflected in their respective budgets) when Hollywood discovered they could profit from fifty years of pre-existing awareness for old TV shows and movies.

This allowed the marketing department to move away from pitching a movie and convincing you to go see it (lower success rate), to simple “audience awareness” and building anticipation. (higher success rate.)

The audience knew what THE FLINSTONES the movie was. They just needed to know the casting and when it opened. No one needed to have the remake of GODZILLA explained to them. They just needed to know when it opened.

The marketing department prefers AWARNESS over SELLING because awareness is something you can throw money at. Selling is harder, and it’s less predictable. This is why franchises are so valuable.

Whenever someone says, “That’s something I can sell!” It’s usually something that can sell itself. What they mean is, "I just have to let people know about this!"

Hollywoods's reliance on property the audience is already familiar with is 100% because... the audience is already familiar with it. It is easier to market the product and this increases its chances of success.

This focus on I.P. has become so pervasive, many, including executives themselves, have forgotten WHY it's valuable. They'll option an unknown comic BECAUSE it's I.P., forgetting that it's unknown and lacks the main asset of I.P.

Writers do love writing on an I.P. that means something to them. Every Star Wars fan who became a filmmaker would love to work in that universe. But we do not love it more than our own original work. We would always rather work on that.

So when you see another remake, or reboot, or adaptation, and think, "Can't they come up with something new?"

Remember, the answer is yes. Yes, we can. And we want to. You can blame the market or the marketing, but either way, the widespread production of truly original content is just not the studio business model we're in right now. #WGAStrong

end ID.]

#wga #wga strike #NOW WITH TRANSCRIPT PEOPLE REBLOG THIS ONE

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m8hammed2 · 1 month ago

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A Journey of Resilience and Hope: An Urgent Call for Support ✊🏼💔

Hello everyone, 🌍

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We fled to Rafah and then to Deir al-Balah, where I now live apart from my family in a tent that offers little comfort. My father suffered a hand injury, and my sister Iman contracted hepatitis due to malnutrition. I lost my job before graduation, and my studies in the MBA program were halted. Our lives have become a daily struggle for survival. 🍂

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Every day we wake up hoping for the war to end, but fear continues to control us. We seek your help to get through this ordeal and return to our normal lives. We need your support to provide the necessary medical care for my family, resume our studies, and build a better future for us all. 🌟

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From the depths of our hearts, we thank you for any support you offer. We will never forget your kindness and humanity in these difficult times. ❤️🌹

Note 📝

I created this account because my previous one was restricted, limiting my ability to reach out to people. I've been blocked from making an urgent humanitarian appeal during a time when my family and I need it most. The war has taken everything from us, and now I'm struggling to have my voice heard. Please help us by sharing our story and supporting us through this difficult time. Your kindness could be the lifeline we desperately need.

This is the link to her other account.

Thank you,

Mohammed Hussein Ismaeel ✍🏼

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amarpatil1 · 7 months ago

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octuscle · 27 days ago

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Four T and one C

On campus, they were known only as TTTT. Tanner, Thad, Trent and Trey had known each other since childhood. Their parents were all members of the same country club, their parents all had summer houses in the same area in the Hamptons. It was clear that TTTT would all go to the same college together. With a lot of money from their parents, they had all made it to Yale. Even if not everyone was actually clever enough for it. Fortunately, as Yale alumni and successful investment bankers and lawyers, their fathers and mothers were able to fix that. And so the party at the high school became an Ivy League party. And TTTT were the guests of honor at the party.

Chad's parents weren't in a country club and didn't have a house in the Hamptons. But they were wealthy enough that Chad had somehow managed to find favor in the TTTT's picky eyes. He lived in the same dorm, they had talked at some point. And the fact that Chad was smart and could help them with an exam or two wasn't a disadvantage, of course. The TTTT were all studying business studies, Chad biochemistry. But with an IQ of 142, he was easily able to pick up what little knowledge he needed for an MBA in a lunch break.

The first semester came to an end. TTTT had done reasonably well, Chad already had a job as a working student at a biotech lab and had a good chance of finishing the semester at the top of his class. Nevertheless, he was at every party and if you saw the five of them in their Polo Ralph Laure and Abercrombie & Fitch outfits, you would have thought that all five of them were nothing more than spoiled and stupid frat boys. Until the day the last marketing exam was written. TTTT treated themselves to a beer in the sun on campus in front of the football stadium to celebrate the end of the semester. And then Chad came by. But he wasn't dressed like Chad. He looked like a British hooligan. At least almost. Tight jeans, DocMartens and a tight Fred Perry polo shirt that showed he obviously didn't just spend time in the library and lab. The tight shirt showed off his pecs and biceps pretty well.

“Bro!” said Tanner. “What do you look like? What's with the chav look?” Chad grinned. With that cheeky grin and his haircut, he was still one of them, even if he was dressed differently. “I got this invitation from my new employer. Sick party, all for nothing. And the employees were asked to come in the company colors. And they are yellow and black. And because I didn't have time to change beforehand, I wore the only thing like that I could find. I had it from my exchange year in Berlin. Everyone at my school walked around like that.” Trent grinned. “Sounds sick, dude! Do you think you can get us into the party?” Chad grinned and pulled out four ribbons. “You think I'm forgetting my best bros? Put on your wristbands, they'll get you into anything you want. And here are the tickets for the entrance.” Chad took a look. The nerd still had to study, he still had two exams to write. TTTT did a collective high five. The evening was saved. It would be just the right end to their first semester at university.

The bouncers had had their hands full. The party was an event of the year, crowds of people wanted to get in. TTTT had problems even getting through to the bouncers. But when they showed their tickets, they were waved through. One of the bouncers said to a colleague “What boring philistines!” Fortunately, TTTT didn't hear that. And fortunately, the four of them were so sure of themselves and their appearance that they didn't feel they stood out among the party people.

The party was good. There was plenty to drink, there were hot girls for the four of them to dance with. But the real kick was missing. Trey noticed that the most attractive people were heading towards a door with another group of bouncers in front of it. Trey waved his bros together and headed for the door. “Ribbon only,” grunted one of the gigantic bouncers, pressed into a black and yellow leather suit. Trey grinned. He had pocketed the ribbons and had almost forgotten about them. TTTT put the wristbands on their wrists and passed the gorillas with a grin.

Loud bass thumped at the end of the corridor. Strobe flashes flashed. There was much more yellow and black on the dance floor than on the last dance floor. And the people here were different. Beautiful. But not New England at all. Thad was reminded of Berghain in Berlin. He'd tried to get in once, but even with a wad of dollar bills he hadn't been able to get past the bouncer. But those who had managed to get in often looked like the people dancing on the dance floor here. Thad turned to look at his bros. The three of them had rushed straight onto the dance floor. In their outfits, they stood out like colorful dogs. At least their hairstyles matched the crowd on the dance floor to some extent. Thad rubbed his head. He loved the feeling of freshly shaved sides. Fuck, Trent really looked good with that badass undercut. Thad's cock was getting hard.

The four of them danced in a trance to ecstasy. The hard techno beats thumped through their bones. Every now and then, one of the TTTTs went to the bar and provided the four of them with an energy drink. Last time, the awesome bartender had also slipped Trent a few colorful pills, which the four of them washed down with the candy-sweet drink. I have no idea what time it was. But the party had only just started. According to his watch, it was 06:00 in the morning when Tanner had to go to the toilet. The room was overcrowded. A few of the athletes who had gathered here sweating were actually pissing. But most of them were sucking cock or being sucked. Damn, there was a muscular guy at the front wearing nothing but a pair of black and yellow chaps. Tanner had already noticed the guy on the dance floor. Without giving it much thought, he dropped to his knees in front of the Adonis. And sucked the first cock of his life. But no one, not Adonis, not Tanner would have thought that. It was as if it was routine on a club night.

Tanner had swallowed every drop. He wiped the rest from the corner of his mouth and made his way back to the dance floor. Maybe with a detour past the bar. There was a guy sitting at the bar who made Tanner want to get down on his knees again. The guy's bulge in his latex pants looked almost painful. The guy almost grabbed his crotch, kneaded the bulge and asked, “So, Tanner? Do you like sucking cock, you pervy pig?” Tanner winced. He knew that voice. That was… Chad!

Chad grinned, took a swig of beer and unzipped his pants. A monster jumped out of his prison like a jack-in-the-box. Tanner first licked the skin-tight latex-wrapped nipples and then ran his tongue over Chad's washboard abs to the shaved cock. Shit, Tanner was addicted to hot guys' cum. Chad leaned back and enjoyed Tanner's practiced tongue. For a semester, TTTT had taken advantage of him. Always made him feel like a second-class human being. But now? The substance he'd soaked the ribbons with seemed to be working excellently. The dumb college jocks had become techno disciples who followed their DJ gods around the planet from party to party. As guinea pigs for Chad's new employer, they would not become lawyers or investment bankers. But thanks to a lavish expense account, they would be able to lead a very hedonistic lifestyle. And whenever Chad was horny, one of the TTTT would be at his disposal.

Tienn, Tyrus, Tai and Taren were in top form. The party was far from over. They were the stars of the dance floor. Hardly anyone moved to the music like the four of them. When they weren't in the washroom servicing a hot guy they had picked up on the dance floor. One of them always had his eye on Chad. When Chad needed their services, he always had priority. All they were, they were only thanks to Chad.

Pics by @ki-kink

#male tf #muscle tf #reality change #inked man #tank top #ai image #chav tf #smart to dumb #getting dumber #rubber tf #s2g #straight to gay

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evalin9 · 2 years ago

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#Full-timeMBACourseinBangalore #Full-time MBA Course in Bangalore

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friendshiptothemax · 2 years ago

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Hi all! You may have heard there might be a writer’s strike soon. The reason for this is that every three years, the Writer’s Guild (which represents basically every television and movie writer) negotiates with the studios and networks (collectively called the AMPTP) to hash out an agreement of what guidelines the AMPTP have to follow if they want to hire a Writer’s Guild writer. If they can’t make an agreement by the time the contract from three years ago expires, which is on May 1, then no one will be able to employ a Writer’s Guild writer until a new contract is reached. That’s what a strike is. I don’t know if one will happen or not. Everyone, including the writers, deeply hope we’re able to make an agreement before May 1 and everyone will keep working. That being said, our last contract expired right at the start of the pandemic and everyone involved just kind of said “hey everything is weird right now so let’s not fight” so essentially we’ve got six years’ worth of grievances to talk about -- that is why this one seems especially contentious.

So that’s the background. The WGA and the AMPTP started negotiations this week. This is expected to continue throughout April -- no one expects to know either way until the end of April. Something very important I want everyone on Tumblr to know -- while negotiations are happening, the WGA has committed to a complete media blackout. No member of WGA leadership or the negotiating committee will be speaking about how things are going to the media. This means that if you see an article talking about the WGA’s position, whoever gave them that information is not talking for us -- and, since this is a two-sided negotiation we’re talking about, are probably talking directly against us. Use critical thinking on any negotiation-related articles you read -- does what they’re saying make sense? Who benefits from saying this?

Why am I saying this now? Well, yesterday, Variety published an article claiming that the Writer’s Guild is advocating for the use of AI. The article was full of twisted facts and confused falsehoods. The article took the WGA’s position that you can’t replace credited writers with AI and touted it as “the WGA is okay with AI as long as writers are credited!” That is an extremely bad-faith twisting of our position.The WGA had to issue a clarification of our position on twitter and now I’ve seen articles taking bits of THAT out of context -- specifically a Gizmodo article that implies that the Guild wants to take advantage of AI because it can’t be copyrighted, but their proof of that is a snippet from a section saying the reason we’re CONCERNED about AI writing is that it can’t be copyrighted.

And just, like....think about this for a second. Why on Earth would the Writer’s Guild WANT to replace writers with AI? Literally the organization whose entire purpose is to protect writing as a job? There’s no organization on Earth who would be opposed to it more. Every meeting I’ve been in has been unequivocally clear. WE ARE AGAINST AI. The second tweet in the thread I linked above says it outright: “AI can’t be used as source material, to create MBA-covered writing or rewrite MBA-covered work...”

It just seems to me like it would suck if we do head into a strike in May, and everyone is pissed off at us because they believe we are striking for something that is the EXACT OPPOSITE of what we want.

The WGA is in a media blackout. Be very skeptical of anything you read claiming to represent our position unless it comes from an official WGA source, like the one I linked above.

#writing #television #writer's strike

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