#thank fuck for the WGA

[eskawrites]

Don’t mind me just getting emotional about the WGA deal

[knowlesian]

yellowjackets just getting weirder and more experimental is everything to me

the weirder this show gets, the more i love it

[getvalentined]

tumblr doesn't have to be a part of a guild to cross a picket line. i need you to stop talking about things you don't understand and stop spreading the misinformation you think you're correcting.

I need you to stop being an idiot in my askbox. Bye.

[gonegrove]

amanda todhunter makes a good point if upside down hawkins is frozen at like the moment will got got as we learn in season 4 how the FUCK did he see shit like christmas light alphabet in season 1?????

[sirswooshnoodles]

I never understood the “they ruined my childhood fav” about the new Star Wars or Disney remakes

Then I saw the Lilo and Stitch is on there (probs for a live action remake) and I just- no. How dare. Is nothing left sacred???!?!?!?

And then I realized…

Also Moana!?!?!?

Do a revamp of the animation at most!! Moana isn’t even old enough for this shit!!! It hasn’t even been a decade!!!!

Good lord fucking money grubbers.

[fans4wga]

Adam Conover: So the writers strike is finally over, and I'm so happy to tell you that...

Full transcript of text on images below the cut!

And we changed not just our industry for ourselves, but for every writer who comes after us. And I am…so proud of us. 

Thank you to every writer who made this victory happen, and thank you, thank you, to every fellow worker who stood with us. 

We are gonna stand with you as well because what this proves is that when workers stand together, we win. 

And now…LET’S GET BACK TO WRITING.

[video ID: Adam Conover summarizes the terms of the 2023 WGA Contract that ended a 148-day strike.

So the writers strike is finally over, and I'm so happy to tell you that...WE FUCKING WON.

These are all things that they swore to us five months ago they would never give us in a million years. But we went on strike and we hung together until they were forced to come to the table and meet our demands. 

Contract Summary

This is the contract that we just spent the last 148 days fighting for. And lemme tell you what’s in it: 

a guarantee that a minimum number of writers be hired on every show, 

comedy-variety writers like me be paid [equally on streaming and TV],

provisions that mean better pay for screenwriters, 

better pension and health for writing teams, 

script fees for staff writers for the first time, 

and protections against AI.

AI Protections

AI can’t write scripts, edit scripts, or undermine our rights and credits.

Success-Based Residuals

And we won a success-based residual! So for the first time, when more people watch a movie or TV show on streaming, the writer that created it will make more money, too.

---

And we changed not just our industry for ourselves, but for every writer who comes after us. And I am…so proud of us. 

Thank you to every writer who made this victory happen, and thank you, thank you, to every fellow worker who stood with us. 

We are gonna stand with you as well because what this proves is that when workers stand together, we win. 

And now…LET’S GET BACK TO WRITING. [/end video ID]

[iww-gnv]

This is part of a series of frank accounts of the strike from Hollywood writers at different levels in their careers. I guess the AMPTP forgot the first lesson privileged parents quickly learn: Do not short-change The Nanny. Carol Lombardini did just that, and now SAG-AFTRA will strike. First, let’s rewind: The pavement was as hard as it’s ever been. The heat, unbearable. Numbers, thinning. The loneliest place on earth, the picket line by Universal’s Main Gate — where the sidewalk literally fucking ends. Paramount was all airpods and sunburns. (Some gracious restaurant handed out lemonade. God bless them.) Even the family-friendly line at Disney felt a little like a chain gang.  Not gonna lie, we knew it would be hard. But by day 72 our souls were cracking. The distant horizon of the strike loomed long and large. But then the AMPTP fucked up. Big time.  Quite possibly the stupidest exec in the business fed Deadline the most monstrous article, in which they finally let the mask slip and said the unsayable: Let the writers starve. “It’s been agreed for months,” the anonymous source confessed. The studios want to break the WGA, drag this out until the writers are “losing their homes.”   “A cruel but necessary evil” to protect their bloated, unjustified C-suite compensation. Those are real quotes. Even Marie Antoinette winced. Dumb dumb dumb dumb dumb. Writer Twitter lit up with rumors of a morning-after Zoom where screaming studio heads pointed fingers at each other. Whatever moronic flack allowed that to happen will soon be living thousands of miles from Los Angeles, probably printing up flyers offering 2-for-1 Blizzards at the Bangor, Maine, Dairy Queen. The fun, new parlor game on the picket lines this week is guessing who was dumb enough to say the quiet part out loud. But thank you, whoever you are. Because those quotes turbocharged us. They reminded every writer why we’re doing this. Why we can’t give up — and now, you better believe there is not a single writer who doubts this is possibly the most important strike in the history of our craft and our industry. Nothing unifies like a Big Bad. Nothing makes heroes like an unrelenting villain.

[isahorcrux]

In light of the recent announcement of the Harry Potter TV Show and the fact that this is primarily a Harry Potter fan fiction blog, the below needs to be said.

I am not excited about this show.

If you told my past self 5 years ago this, I’d be shocked.  Five years ago, if they announced a Harry Potter TV show I’d be doing everything in my power to be involved some way or another.  However, in the last five years JKR has shown her true colors and spent her free time and money attacking the trans community.  There are many reasons why I’m not excited about the show or looking forward to it in any regard, but to me the most important is that this show gives JKR more money and cultural capital to further her anti-trans agenda.  This is unacceptable.

I think a lot of us raised on Harry Potter really wanted to separate the art from the artist, dive further into fanfic and fandom and just ignore that the woman who created a world in which we’ve spent most of our lives escaping into.  However, we can’t do that.  It’s come to my attention over the past few days that a lot of people aren’t even aware of the active harm JKR is doing to the trans community.  Most people just say, ‘oh she said some weird stuff on twitter’ right?

Well, yeah.  But, did you also know she launched an active campaign against a reform bill that made it easier for trans people to legally change gender?  You know what happened?  The UK blocked that Bill and Scotland now has to launch a legal challenge to the government block.  She’s also funding a Sex Abuse Crisis Center that excludes trans women.  Yeah, that’s right.  She’s using her money from a book about love and acceptance to actively exclude a marginalized group from a crisis center.  She’s also publicly admitted via twitter that she funds anti-LGBTQ political activity in the UK.

So yeah, there’s a direct line of fans supporting official trademarked Harry Potter anything and that money directly harming transpeople.  Sorry for that rude awakening, but some of y’all are doing backflips to avoid seeing this.

Now, is there a way to prevent Warner Brothers (and Max, lol) from making this show?  Probably not?  After mergers and at a point when the tv and film industry isn’t booming, they need money.  You know what makes money?  Harry Potter.  Which is why they’re rebooting it.  Another question that’s been raised, will the looming writer’s strike affect this?  I would guess probably not?  Most UK writers (and International writers at large) are not in the WGA.  JKR has always wanted the most amount of British people involved in Harry Potter adaptations, so they’ll use the strike to find a UK writer and get them to work.

So what can we do?

Don’t watch the show.  Or, if you do.  Pirate it. In fact, cancel your Max subscription before the show launches.

They’re going to spend A LOT of money on this.  If the numbers aren’t there for them they will do what every other streamer does with an unsuccessful show and cancel it.  They announced 5 Fantastic Beast movies, and yet...where’s that last one?

Anyway, thanks for reading this whole thing if you’ve gotten this far.  Please share with friends who are excited about the show.  Please engage in meaningful discussions with other Potter fans.  Please support our trans friends and strangers.

Once again, this blog says FUCK JKR.

[ravencromwell]

Yes, there is absolutely! a comment period, and it has been extended to June 12th! As far as I understand: you can make public comment here. I think it's crucial to note that while this encompasses negligence around broken and mishandled equipment, and people with those sorts of horrors should absolutely submit comment! it by no means limits itself to that. This rule also concerns itself with enforcement of improper transfers, ala the grueling, humiliating ordeal of Charles Brown. Which I'm frustrated more people aren't emphasizing, as it matters so fucking much to get voices who've been dehumanized in similar fashion into the comments, too. There's a brilliant list of Do's and Don't's linked as a list on the comment page. Per that list's request, I'd urge you to peruse the full regulation before commenting

As a disabled person who's loved LEVERAGE and LEVERAGE REDEMPTION since the beginning - for the characters but also the whole ethos of performing acts that help people against crap systems, it's wonderful to be reminded that it springs from reality.

[pedge-stuff]

strawberry margs (pedro pascal x gn/m!reader)

a/n: same vague universe as “marked,“ per usual, yada yada.

happy belated labor day, y'all! tip your servers and thank your union reps.

(my union is on strike rn and, while it is ass, I'm very grateful for the people who are working hard to secure a better future for all of us. wga strong!)

summary: a totally normal labor day cookout with no big announcements whatsoever.

—————————————————————————

"Hey!" Pedro is slightly out of breath, flushed from the cocktail and the dry heat. Sometime in the fifteen minutes he's been gone inside the house, a tiny sombrero-on-a-headband has made its way onto his head. 

He plants a kiss on your temple, slinging an arm over your shoulder; the man gets a little possessive, after a couple drinks, but not in an unpleasant way. There's a pitcher of pre-mixed margaritas on the picnic table, and only a thin finger of the same drink left in his plastic cup. You squeeze the hand that now rests on your right shoulder. 

"Are you having fun?" 

Truthfully, yes. Parties usually aren't your vibe, and you'd been nervous about this one, for some reason. Had expressed as much to him, beforehand.

Oscar and Elvira usually host in the summer, the little patio attached to their apartment far surpassing anyone else’s outdoor space in the city. No reason at all to be nervous— you were just here, for the 4th of July, alone, kindly invited while Pedro was still filming in Morocco. (And oh, how the summer had changed.) Had been here almost every weekend since then, while things were shut down. 

But, this was the first party since… well. Since you’d put a ring on it, so-to-speak. 

The social etiquette of the whole thing has you flummoxed. Are you supposed to tell people? Is that annoying? Do you just not say anything? Wait for them to notice? Take the rings off and break up so you don’t have to do this at all? 

Ultimately, these are Pedro’s friends, so it’s been Pedro’s call. Not that you communicated that to him. Which might have been a mistake. Regardless, you’re deferring to him, despite the pit of stupid anxiety it left in your stomach leading up to the party. 

Not that you’re not proud of the ring, either. You couldn’t be fucking happier. Social anxiety is a tricky thing, apparently. (You might have way, way overthought all of this.) 

“Yeah,” you smile at Pedro, shaking cobwebs of shitty thoughts from your brain. “Yeah, this is lovely.” 

Another kiss, this one soft on your lips. He tastes a little fruity, some kinda flavored syrup in the margaritas. You’d accidentally opted for an IPA that tastes like ass, so you’re just carrying around the can as a prop. His fingers are sticky from something, you discover, as he licks them clean.

The arm around your shoulder steers you towards the long picnic table, around which most of the party is gathered: the hosts, and a few extended family members you’ve definitely been introduced to, before. Sarah is here, with Holland, which is a nice surprise. The kids are deep into a game of corn hole, in the small grassy area. 

You settle at the table, folding chair pulled flush against Pedro’s. A large hand palms above your knee, exposed below the inseam of your shorts. The sun is warm on your skin, fingers wet from the condensation of the can you’re pretending to nurse.  

“— the AMPTP doesn’t know what they’re talking about,” Holland is saying, from where you’ve entered the conversation. 

Oscar’s brother, whose name you should know by now, laughs. “Been four months now, though,” he shrugs. “You think someone would’ve budged by now, but—“ 

"Woah, woah." From his perch on his wife's lap, Oscar points, looking scandalized. “What the fuck is that!" 

Pointing, unexpectedly, at the ring on your finger. 

"Uh." Pedro's looks sheepish. 

"You're joking!" A hand dramatically clutches his heart, while Oscar swoons against Elvira. "I'm wounded. Sarah, did you know about this?" 

Across the table, she raises a glass, mockingly. "I picked out the ring." 

"That's not true—" Pedro begins to protest. 

"—Sorry, I forced him to make a fucking decision because he'd been agonizing over three options for like a month." 

Pedro shrugs. "I wanted it to be perfect," he says sheepishly, "sue me!" 

"No, no, backup," Oscar says. "I don't care about the rings. I can't believe you didn't tell me!" 

"I can," Elvira offers, "you've got a big mouth." 

He groans. "It's not like it was a secret!" 

Loud interruptions from across the table. "It was absolutely a secret, that's the whole point!" 

Oscar throws a hand up. "You already act like you're married, is anyone surprised about this?" 

"You were surprised." 

"I was surprised you didn't tell me! Wounded, frankly. Irredeemably. To the core." 

"Are you done?" Sarah rolls her eyes, squeezing Pedro's shoulder affectionately. "About damn time, but we're happy for you." 

She gestures at Oscar. “Yeah, yeah, we’re happy for you.” 

“With feeling this time.” 

“Guys,” Pedro interjects, “I wasn’t keeping anything from you. It happened two days ago!” 

He launches into the tale, eggplants and double-rings and all. The hand stays planted on your knee, and you take advantage, laying yours on top to thumb over the band on his ring finger. Someone tops Pedro off, and you reach for a sip— strawberry, you determine, is the marg syrup. You’re not really listening, but you lean back, content to watch him retell the story. 

The next time he kisses you, as the sun sets into the Brooklyn skyline, you taste like strawberries, too. 

[akajustmerry]

I support the wga strike 1000000% and want the writers to get everything they need and deserve. i also will be beyond ecstatic if the following shows are canned due to the strike (because I do not wish to see more of these shows)

Bridgerton and its spin-offs. Always have, always will hate this racist phoney show!!! A cancellation would make my day!!!!

Any and all mcu related shows (they're not real tv and they all suck thanks)

Rick and morty - is this show still going? Idk it shouldn't be!!!

Sex Education - this show shoulda ended YEARS ago. everyone in it looks too fucking ancient to even be there.

the last of us - fuck this show, fuck neil Druckmann's zionist ass

the Mandolorian - if I never see that green rat again it will be too soon

The white lotus - the way people talk about this show is so ANNOYING. I need to end so I can have peace and quiet

The Crown - you can shove your prestige monarchist propaganda up your assssss

the witcher - lmao Henry cavill leaving should just mic drop the whole show. anythings better than seeing liam hemsworth get employment

literally any of those shows that are called like "171 moonfire" and they're about cops dating fireman or something idk I call them "cute copaganda" same goes for all those ass medical shows where people cure illness by gazing into each other's souls

house of dragon - I love lesbian subtext as much as the next gay but there is no way this show is getting better. quit while your ahead, babes!!!

any true crime series, but especially ones produced by glee war criminal ryan murphy

[desperatelyseekingcannibals]

ecstasy (dogsdogs) - shortfic

Explicit // M/M // Nigel (Charlie Countryman)/Will Graham // Tags: club owner Nigel, rookie cop Will, strip club, trans masc Will, virgin Will, references to drug use, attempted non-con drug use, getting to know each other, flirting, banter, hook-up, lap sex, grinding, unprotected sex, mix of AFAB and AMAB terms for Will's genitalia, first time, loss of virginity, prompt fill.

For the WGA Server's Fic Scramble. My prompts were:

• Bottom Will trope: virgin Will 

• Scenario/place: strip club 

• Random tag: bantering 

• Random thing: ecstasy

Dragged to a strip club by co-workers, rookie cop Will is about to have a really terrible night - then Nigel steps in.

ecstasy (3.7k):

Nigel didn’t like trouble in his club, and the group of men currently at the edge of the stage had looked like trouble from the moment they walked in. They were rowdy in a way he didn’t like, in a way that usually meant one of them would try and touch the girls. And all but the youngest of them looked like fucking thugs. 

Between their thick meaty fucking heads, Nigel could see a young man who looked really fucking uncomfortable. He hated that shit. 

He wasn’t stupid, he knew that the vast majority of customers in his club didn’t give a much of a shit about the girls, didn’t appreciate their skills, or the fucking art of the whole thing. But he hated it when people were forced into his club. Usually dragged along by some toxic macho dick cheese that thought they needed to man up, whatever the fuck that meant. 

“Hey,” Nigel called across the bar and caught the server’s eye, then nodded towards the group. He received a nod in return and the server picked up the walkie-talkie from next to the till point and spoke into it. Nigel couldn’t hear over the noise, but he knew what was being said - this was how it worked. 

A few minutes later, one of the bouncers appeared at the back of the club and positioned himself to watch the group. The moment even one of them stepped out of line, they were fucking gone. 

*

Will grimaced. This was not what he had wanted.

He became a cop because his dad was a cop, before he’d been retired by a gunshot. The man had been miserable all through Will’s childhood, forced to fall back onto boat maintenance and telling Will he should aspire to be a cop like he had been before that damn perp. He’d been raised to not really expect or want anything different - to be a cop was to be a man, a real man as far as his dad was concerned. And yet, he hadn’t realised how much his heart truly wasn’t in it until he went through his training. 

And now here he was, a rookie surrounded by some of the worst men he’d ever met. 

“This is it, Willy boy! Need to get you a private dance. Might even get your dick wet!” 

A large hand slapped him on the back as he tried not to cringe outwardly at the words. Thank god none of them knew. The thought of it all coming out terrified Will - they were shitty enough with him as it was.

They all went back to rowdily and now drunkenly, shouting at the women up on stage as they stripped off their bras and danced on poles. It was actually amazing to watch - not because women did anything for Will at all, but because their skill was undeniable. One woman moved in a way that looked almost like a magic trick, he had no idea how she was even still holding onto the pole - it looked like she was floating. 

He was at least grateful that his colleagues seemed to interpret his wonder at the women’s skill as lust. He just had to get through the rest of this evening. 

With a sigh that he tried to stifle, Will picked up his drink, raising the glass to his mouth. 

Before he could even press it to his lips, the glass was violently slapped from his hand. 

And then all hell broke loose. 

Continue reading on AO3

[ashfae]

The WGA and Sag Aftra strikes aren't just cruicial in their own right, they're crucial for the precident they'll set if they succeed. This is hugely important, and not just in the entertainment industry. It's worth mentioning that a new Minimum Service Strikes Act just became active in the UK in July 2023; it's been framed as a necessary thing to make sure essential services (emergency services, border security, transportation, education, etc) keep working even when there's a strike on, so the public doesn't suffer, but of course that that means is that any strike becomes less effective, possibly even ineffective. The Trades Union Congress has actually just this week (September) reported the UK government to the United Nations because of this. Long story short: strike law is very convoluted, do your research before assuming someone is crossing a picket line and don't abuse them, and support all the strikers. Because the rights they're fighting for might be your own, too, and if nothing else they pave the way for future battles that will affect you. And all that is easier said than done given that strikes mean you have to get emergency childcare for your kids who can't go to school, or that the medical treatment you need is delayed again because the junior doctors are on strike, or that holiday you've been desperately looking forward to is cancelled because you can't get there by train, or the next season you want is postponed until who knows how many years down the line. It is frustrating. It's supposed to be and it has to be. That's the point. All these jobs are vital and the people doing them deserve to be supported and protected and compensated. Since their employers aren't doing it, we'll have to, for now. But that does NOT mean you should just assume anyone who's working in a striking industry is a scab. CHECK FIRST. You help no one by assuming the worst and bullying them. Frankly you help no one by bullying scabs, either, they're usually just as desperate in their own ways. Just don't support them and do support the strikers. The goal is to improve the whole system, not to feel self-righteous by pointing out someone you think is doing something wrong.

I’m just going to say this here so people aren’t concerned.

I am a writer and actor. I am based in the UK and Ireland.

We are not currently striking.

We are being affected by the strikes, there’s certainly not as many jobs around, but we aren’t striking.

If I take a UK-production company job, I am not scabbing.

We have different unions. There are actors represented by both Equity and SAG-AFTRA, but I am not one of them.

(I’m actually not even in Equity yet, I’ve only just earned enough to be accepted and I can’t afford the membership fee at this moment)

We are not allowed to strike in the UK. We have terrible anti-strike laws. We are also being screwed over a lot, but I’m hoping if WGA and SAG-AFTRA succeed we might get some trickle down help.

It’d be totally different if I took an American based job, which I won’t because I want the writers and actors to break the big studios.

Support the strikes, but please remember not everyone is American.

[witchern]

heads up: these kids are the fucking best.

[Image ID: Letters addressed to the WGA from a group of grade school students at St. Timothy School in Century City. All of the letters begin with the same typed intro: "Dear Writer, My teacher taught us about the Writer's Strike in our Performing Arts class. I wanted to show my support."

The following are all handwritten additions by the students:

"I hope this ends soon. Stay safe while protesting. DON'T GIVE UP." From Jordan, 8th grade.

"We fight with you! Keep up fighting. You are built different than AI." From Sean Park, 6th grade.

"It must be very tough to strike but you have to take those steps to secure your future. We want to work as it is enjoyful but we can't let AI take our jobs so we protest." From Nick, 8th grade.

"I hope they give you everything deserve I know it's not fair and its a pain to protest but we all wish you the best of luck!!! You're doing amazing!" From Eden Harker, 8th grade.

"Your feet must really hurt from all that protesting! I don't want AI to take over. Theres alot of movies/shows I like. Like the fallout, coraline, queens gambit, Level 16 and more. Thanks for being so amazing!" From Misha.

"Stay safe dont get run over. The strik will end soon. Keep going" From Michael.

"YOU DESERVE MORE MONEY AFTER ALL THE GREAT MOVIES U MADE. I LOVE UR MOVIES UR AMAZING I LUV U" From Lauren S, 6th grade.]

[ohworm-writes]

I know that, to a lot of people, what I’m about to say is unimportant. But I just wanted to put this out there to the general public of people who follow my content.

I have been writing for years. I have written stories, short and long, since I was in Pre-School, and I’ve kept with that passion since. I love creating complex characters and dynamics, creating worlds and landscapes of my own because- fuck, it’s fun!

And as I’ve grown older, I’ve expanded my work. I’ve done short story commissions once or twice for friends at school because they want to see their own original characters come to life! I created a Tumblr blog (this very one) because I loved seeing the passion people put into writing fan works!

And do you want to know something else really cool? I co-wrote a play for my old highschool. I preformed my own scene on stage with others and I fucking loved it. And after that I decided I wanted to be a screenwriter! Because, holy shit! I genuinely cannot imagine my own work being put onto a big screen, my passion shown to the world!

But now? It’s hard to thing about. The WGA and SAG-AFTRA are on strike, the WGA since May 2nd and SAG-AFTRA since July 14th. They (the WGA) are fighting for wages that they can live on. That is the bare fucking minimum.

I don’t want to come across like I’m oh so unique for stating this, because I sure as hell am not, but- this up and coming generation of individuals who have similar ideas like mine, wanting to put their writing on screen and share their thoughts with the world, have to understand that this is real and this will not stop unless something is done.

I’m not off-put by this and this isn’t going to influence my decision of coming into this field, but it’s a slap to the face. A bucket of ice water dumped over my head. When I grew up, I’d always watch the end credits of films and television shows to, in my little head, thank everyone who worked on the piece.

I always thought that everyone who worked on these became rich because they worked on movies and television. Like- how could they not be paid fair? They worked and worked and worked on these things to make what I was watching real!

And now, wanting to go into that field and seeing so many people- my idols having to fight for basic things, it’s heartbreaking but it also motivates me even more.

As a fan-fiction writer, it’s especially interesting. Do you want to know why I and many others don’t do commissions for writing about fandoms? Because it can be seen as illegal. The works we write about are under certain copyright laws that we have to abide to, whether we are conscious of it or not.

Also? It’s fucking immoral! I can write all of the fan-fiction I want for free, and there’s no problem with that. But, once I start to say, “I’m opening up commissions, so you guys can pay me to write about these characters or fandoms with whatever flavoring you want! I get a profit, you get something I could post for free!” Fair, right?

I won’t ever charge for people to see the things I write because I love writing them! I want everyone to see what I write, whether it’s on a Tumblr blog or on a big screen. That’s the point of it all.

None of these writers, people who write fan-fiction included, want fucking artificial intelligence to write for us- that’s our fucking job! C.AI, ChatGPT and whatever the fuck the others are- just write what you want to see! Ask a writer to write it for you! Pray?! Don’t turn to a fucking machine and say it’s so much better than what people do for fun or, again, a living!

But you have to understand what these people in the WGA are fighting for is the right to be fairly compensated for their work. To have a wage they can live off of and not have a fear looming over them about losing what they’ve worked towards making.

This cannot be too much to ask for, because if it is? Every person, whether you write or consume these kinds of media or not, are doomed.

Pay these writers. Use your platforms for publicizing these types of important issues. Show your support.

[nickblaine]

season 5 script summaries

links to previous script summaries: season 4, season 3, season 2, season 1, seasons 1/2 cont’d also, check my tht scripts tag for gifs, excerpts, and more details

i got the librarian’s email about season 5 scripts, and even though driving to and parking at WGAW has become a literal nightmare, i said fuck it and flew (crawled in traffic) down there the very next day. i wanted to see what the mood was like during the strike, anyway.

the staff had the library running business as usual, but the energy was high and there were pro-union shirts everywhere. there were a couple of guys on the first floor making literal piles of picket signs. i chatted with them for a minute and they said everyone was mostly out on the streets, picketing at every major studio in the city. rock on WGA ✊

i was on a time limit to beat rush hour, so when i read the season 5 scripts it was only Nick scenes. i searched for all instances of his name and wrote down everything i could. i may go back to read the rest of the season, but i can’t make any promises on when that will be.

before i begin (same as last time):

• everything described here is from the official scripts that are archived at the Writers Guild in Los Angeles. • the scripts i read are final drafts. there is no “writing in the margins.” everything described is from dialogue and script direction that was used on set. (click for an example) • the library has a strict no copies/photos rule in place which is why i summarize what i read. • anything in italics is a direct quote for the sake of clarity. • feel free to ask questions and i’ll answer to the best of my ability. my private notes are pretty detailed, but if i need to do more research i may save the answer for a future library visit. • please do not share this post without my permission. thank you in advance for respecting my wishes.

5x01 - Morning

Nick and Rose’s morning scene in this episode is more or less the same as this early script draft. The only difference is after Nick tells Rose her coffee is good, there’s an additional line that says: “It’s a lie, and they both know it. Rose appreciates the polite kindness.”

5x02 - Ballet

There was a short scene of Nick and Joseph Lawrence having a private chat at the airport before meeting with Serena Joy. It was cut from the episode, but you can see it in the trailer.

In this scene, Lawrence confides in Nick that he’s nervous about the meeting with Serena because - in his words - “You had to let your girlfriend go after Fred.”

Nick assures Lawrence that they’re going to spin it as a savvy political move by blaming the Americans for killing Fred. Lawrence still chastises him for not doing his job. Then the conversation pivots (a little clunkily) to this line from the trailer:

NICK: Serena doesn’t know what happened.

LAWRENCE: Doesn’t matter what she knows. It matters what she believes.

When they meet Serena on the tarmac, she instantly has suspicions that they were responsible for Fred’s death. The conversation is tense until they all see Fred’s body getting rolled off the plane, then Serena needles Nick’s guilt and pokes at it with her “Fred saw promise in you” speech.

As they are leaving the tarmac, there’s a line that says “Nick acknowledges Mark with a nod” and Lawrence notices it. In the episode you can see Nick and Mark exchange looks in the background as they leave, but otherwise Lawrence doesn’t notice.

At the Putnam’s party later in the episode, you may have noticed that after the Handmaids arrive, Esther and Nick share a notable look. The script describes this as a fraught moment in which Nick is filled with remorse and wishing he could do more. It also says Esther remembers Nick from when he and the Eyes arrested her, and she’s visibly pissed about it. As they walk away from each other, “Nick can’t help but be reminded of June.”

While Serena Joy is manipulating the Commanders into broadcasting Fred’s funeral, Nick steps in because he’s moved by her bravery and “attempting to atone for his hand in killing Fred.”

In the secret meeting between Nick and Mark there were a few cut lines of dialogue. Most notable is after Nick tells him he just tries to stay out of trouble, Mark replies, “Catches up to everyone, at some point.“

Opaque, Nick thinks about that. How long does he think he can keep going?

Ok, so the end of the episode when the funeral is on TV in Canada, I’m happy to report that Nick IS mentioned in June’s inner dialogue. The scene describes her recognizing who is onscreen with Serena. First she sees Lawrence, and then... “And finally, most painfully -- NICK.” (Yes, in all caps like that, lol.)

5x03 - Border

Cute June inner-dialogue when Lily asks her if Nick’s a big Jezebels guy: “June doesn’t know how to explain what type of “guy” Nick is.”

The awkward Lawrence residence dinner scene. Commander Mackenzie genuinely loves Rose (”old friend of the family”) and is instantly distrustful of Nick. Serena doesn’t buy Nick and Rose’s relationship as genuine either, and tries to subtly acknowledge Rose’s close relationship with June’s daughter’s parents by telling him how lucky he is. Nick is tense, but then his banter with Rose relaxes him, making Serena surprised to observe real affection in their relationship.

During the dinner itself, Mackenzie is just making everyone extremely uncomfortable by bringing up June. Nothing too interesting in the script here, it’s mostly just dialogue.

There is a cut line after dinner when Nick and Rose are leaving, and she says to him, “Well I wouldn’t say that’s the most relaxing dinner party I’ve ever been to.” (He responds “Yeah. No.”) Then he spots Mark all alone. Script says Rose understands what he’s about to do. “Nick squeezes her hand, then heads over to Mark.”

The script emphasizes here that Nick is unsure talking to Mark is a good idea, but he really wants to be the one to tell June about Rose before Serena does.

Mackenzie scares the shit out of him in this scene, and the “fuck” Nick mutters at the end was originally not spoken out loud (”OFF NICK, fuck.”) but I’m so glad it was.

Alright, phone call scene. One of our few big Osblaine moments!

NICK: June. Hi.

June suddenly feels like everything is going to be okay.

This scene is mostly dialogue. The final product is all the acting that goes into it. It does say Nick is stressed to relay upsetting information about Hannah and Rose. When June hears about Rose, she knew this was coming eventually, but it’s still a blow. It also describes how painful and hard this is for both of them. But at the end of the call, right after June tells Nick to be happy, is my favorite line in the whole script:

It’s an impossible ask, maybe, for these two to be truly happy without each other.

After the phone call, there is a cut scene between Nick and Rose where they simply look at each other.

Rose knows exactly who he was on the phone with, and what he said to her.

She looks worried for him, knowing it wasn’t easy.

He nods to her -- it’s done.

5x06 - Together

According to the script, Lawrence only invited Warren Putnam over to his house to get Nick on board with killing him. Warren repulses Nick so he’s down.

The next scene they’re in is when they execute Warren. (Such a good scene.) After Nick shoots him in the head, the script describes the camera hanging onto Nick and “his soldier’s stoicism.”

Then it cuts straight to Rose in the Blaine home. “She’s disappointed in him and he knows it.”

Now this scene threw me off. It’s written much differently than how Max acted it. Nick is actually a lot more warm toward Rose in the script, much like how all their previous scenes were. Several lines of Nick’s dialogue were changed (”Can I help?” became “You gonna tell me what’s going on?” onscreen) and his body language comes across way more cold and defensive than what’s described on paper.

As for Rose, she isn’t soothed by Nick’s assurances here. And that’s it for this episode.

5x08 - Motherland

New Bethlehem opens with another cut private moment between Lawrence and Nick.

Nick is brooding by the water, “still grappling with the moral and emotional consequences of shooting Warren in the head.” Lawrence finds him and tries to prod, but Nick gives him nothing.

LAWRENCE: You look a little more moody and broody than usual. Really, you sleeping okay?  

NICK: I’m fine.

Lawrence moves on because they have work to do. He reminds Nick he’s counting on him.

Lawrence gives his New Bethlehem speech to the other Commanders. When one of them pushes back, “that’s the cue for Nick, the muscle. Enough carrots, time for sticks.”

After Nick bullies the Commanders and Lawrence consolidates his power, the script describes these two as a “dynamic duo” lol

Okay, brace yourselves, there’s a cut Osblaine scene up next. I had no idea this existed, I don’t think there are any shots of it in the trailer.

It takes place after June visits Serena in the detention center and realizes she can’t help Hannah unless she’s there. If you watch that part you will see her pull out Lawrence’s burner phone as she leaves. But instead of going to Lawrence’s office like she does in the filmed version, in the script she calls Lawrence and just says, “I want to talk to Nick.”

It cuts to the next night at the border wall between Gilead and Canada. June is waiting on the Canada side as flying drone searchlights swoop across the electrified fence. (All described in dramatic detail.) She sees Nick appear on the other side. They look at each other, waiting, and once the searchlights clear they move to meet each other at the fence.

JUNE: I need to know if this is for real. I need to know that Hannah and my family will be safe.

NICK: I know. You will be. I promise.

JUNE: How can you promise that?

NICK: Things are changing, people are scared of Lawrence. I’m in a position now where i can make sure you’ll be safe.

JUNE: I want to believe you.

NICK: June. You can finally be with Hannah, watch over her. Isn’t that what you always wanted?

She nods.

NICK (CONT’D): Then please. Come back.

“To me,” he means. June’s heart is torn.

At this point the searchlights return and they have to separate. This scene is written like a soap opera. “They can’t help but reach out to each other, almost brushing fingertips before they move apart and run back, escaping the lights.”

Photo of this scene from Max’s IG:

Later in the episode, Lawrence is back in New Bethlehem with Nick. Nick asks which way June is leaning and Lawrence says it’s toward yes. The script says here that Nick understands that Lawrence is trying to manipulate him, but he can’t help but be cautiously optimistic at the idea of having June and Nichole in New Bethlehem with him.

By the end of the conversation, Nick is “considering.”

5x09 - Allegiance

We’ll skip to 27 minutes into the episode, when June sits with Mark after the failed mission. Mark catches June off guard by bringing up Nick. She’s taken aback by the revelation that he turned down Mark’s offer, but Mark says she can still persuade him. The script says “June imagines the prospect of Nick in Toronto” which I think you can see pretty clearly on Lizzie’s face lol.

Then we cut to the big Osblaine reunion.

Lots of dramatic buildup in the script leading up to their conversation. I don’t know how to describe it other than to show you:

She looks toward the courtyard. And there he is --

NICK

Waiting for her. Strained.

JUNE

Takes a beat to soak him in. She gets out.

OUTSIDE

June approaches Nick, their eyes locked.

Like, damn. They love building tension with these two.

Anyway, dialogue proceeds as it does in the show. Nick tells June that his wife’s pregnant and June has the wind knocked out of her. She’s described as “appalled by Nick’s commitment to Gilead, but understanding of his loyalty to Rose and their future child.”

And then--

JUNE: I want what’s best for both our families.

They look at each other.

A giant chasm between them now. But they’ve shared so much. So much trauma. So much love. A daughter.

JUNE (CONT’D): Well. This is a fine mess, isn’t it?

This scene is once again described as painful for both of them. “She tries to keep it together. How can they part? How can they say goodbye?”

Before Nick says “I love you” he was supposed to wrap his arms around her, but in the final cut they keep their distance.

5x10 - Safe

Just wanna note that when Nick shows up on the bridge to meet Mark, it was originally written so American soldiers yank Nick out of his car, handcuff him, and drag him across the bridge to Mark. We were deprived.

Also the first thing out of Nick’s mouth here was supposed to be, “How is she?”

In the hospital, Mark is telling Nick what’s going on but, “Nick can’t even speak. Looking at June, with her black and blue eyes.”

Mark gets the hint and leaves Nick alone. An interesting thing to note is that the line “it’s probably better if she doesn’t know I was here” is NOT in the script. At all.

The rest of the scene is sweet and simple.

Nick crosses, sits beside June.

A beat. Nick takes her hand.

Says nothing as he watches her sleep.

And that’s it.

Mark and Nick’s second scene on the bridge is just as short and to the point. In fact it’s almost entirely dialogue, so the emotions you see onscreen came from acting and directing. The only notable difference here is when Mark tells Nick he could’ve run away with June, he was scripted to give actual examples of where. “Maybe not to Canada, but there are -- places you could’ve gone. Idaho, the Westward Territories.” (Hopefully foreshadowing lol.)

At the party, it is scripted that Rose tries to greet Nick when he arrives and he doesn’t even acknowledge her. Like she doesn’t even exist.

There isn’t much description to accompany the punch. There is a line that says if Nick wasn’t pulled off of Lawrence than he’d be happy to keep on whaling on him. It also describes Lawrence as “rattled” and Rose as “humiliated.”

At the train station, during June’s goodbye to Mark, she asks him to tell Nick that she and Nichole are safe as a nod to their phone call in episode 3. The only descriptive line here is, “A beat, as Mark clocks the deep and selfless connection between Nick and June.”

The final scene I have notes for is Nick and Rose’s breakup in jail.

There are a couple parts of their scripted conversation that didn’t make it onscreen. Starting with right after Rose tells him a good man wouldn’t leave his wife every time his girlfriend calls, Nick’s response was supposed to be, “she was almost killed.” Then Rose laments that she thought she was lucky that someone like [Nick] would deign to be with someone like [her.] Nick says, “I was the lucky one” and she tells him to shut up.

Then there’s the “You will never let go of her, will you?” line from the show. Nick explains that he tried, but Rose retorts with, “Who knows what that woman will bring to our door. I have to protect our son.” Nick is described as scared now, and pleads with her not to leave.

Now I have no idea if that “our son” drop was supposed to be a legitimate reveal or just hopeful Gilead thinking. The script says nothing else about it and it was cut from the show. But it will be fun to speculate as we wait for the final season.