#uk actors equity

[thecrownnet]

Equity Updates Strike Advice Due To “Panic & Confusion” Among UK Publicists Over Actors’ Press Duties

Jake Kanter, July 25, 2023

DEADLINE

[Photo: Actors Andy Serkis, David Oyelowo, Hayley Atwell, Rob Delaney, Brian Cox, Simon Pegg, Jim Carter, and Imelda Staunton, attend a rally by UK performers' group Equity, in solidarity with striking US actor collective SAG-AFTRA, in London, UK, on Friday, July 21, 2023. They hold a large purple banner that says "Equity stands in solidarity with SAG-AFTRA."]

EXCLUSIVE: British actors union Equity will today update strike guidance for publicity agents amid confusion over how stars should manage their promotional duties during the SAG-AFTRA walkout.

The union, which has said it will enthusiastically support industrial action within UK laws, is expected to update its strike FAQs after getting calls from publicists requesting clarity.

Multiple publicists have told Deadline that there is uncertainty over how they should be preparing for press campaigns over the coming months.

“Everybody’s in a state of panic and downing tools because they don’t want to put their clients in a difficult position,” said one publicist. Another added: “It’s difficult to see where actors stand and there is a lot of confusion.”

Equity General Secretary Paul W Fleming encouraged publicists to check the contracts of their clients and plan campaigns accordingly.

He said actors on a SAG-AFTRA deal are likely to be told by the U.S. union that they are forbidden from doing promotional work. Those on an Equity agreement are not on strike and should fulfill their contractual duties.

“The contract is in dispute, not the union itself,” Fleming said. “American actors are still recording TV commercials. Americans are still recording audiobooks, including for struck companies … because the agreements that they’re recording on are not subject to the dispute.”

Deadline hears that British actors have voiced reservations about doing interviews and other publicity work during the strike, even when they are on Equity deals. 

One publicist said contracts often include a vague provision for “reasonable publicity,” which could be open to interpretation in terms of the volume of promotional work an actor undertakes.

Fleming said members are welcome to contact Equity for specific advice if they are concerned that they are undermining a strike by going “above and beyond” their contractual duties.

“Do you have to carry on doing press and publicity as specified in your contract if you’re on an Equity agreement? Yes. If you’re contractually bound to do ‘reasonable press and publicity,’ what does that now mean? Well, that will depend on the circumstances,” Fleming said.

“What are you objecting to, in particular? Going on a chat show in these circumstances, for instance, maybe a more reasonable thing to object to, as opposed to having a photograph taken.”

The union would never actively advise members to renege on press duties to support the strikes because it could be seen as an inducement to take illegal industrial action.

[iww-gnv]

SAG-AFTRA’s Duncan Crabtree-Ireland has acknowledged “significant economic consequences” impacting workers around the world due to the strikes, while the boss of British Equity said his union is prepared to enter disputes if U.S. producers try to recast roles with UK actors. Speaking on a webinar alongside Equity boss Paul Fleming and broadcasting union Bectu chiefs, Crabtree-Ireland said he recognizes that AMPTP members are “global businesses that have global presences around the world,” and that “members are hurting” outside the U.S. But Crabtree-Ireland, SAG’s National Executive Director and chief negotiator, laid the blame squarely at the AMPTP’s feet. “The only reason these strikes are happening is these companies refuse to make fair and respectful deals with our members,” he declared. “There was no need for a strike, and I have been told that by members of the public when they see what our proposals are and really understand what we are fighting for.”

[Read the rest]

[davidaugust]

No matter what country someone is in, a fair day’s pay for a fair day’s work should be what happens. And what one country’s people do can help another’s.

https://thenextweb.com/news/us-video-game-strike-uk-equity-minimum-pay-performers

[bodhrancomedy]

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.

[neil-gaiman]

Good evening Mr Gaiman! Asking about the strike.

I've read the strike only affects US film & tv industry, but I've also read you're going on strike, even if you're working in the UK. How is the strike going to go there in England? Are Good Omens actors going to participate in it too?

Thanks for reading :)

I'm living in the US.

I'm a WGA member on strike when I'm in the UK too.

I'm a member of the WGA East, and I'm employed by or paid by a number of companies we are on strike against, including Amazon Prime and Netflix. It doesn't matter where the show in question is being filmed or promoted or edited: I'm still on strike.

I'm not on strike if I write a novel, a play, a Haiku or a Tumblr post, unless someone at one of the struck companies wanted to buy the rights to make a film or tv series out of my Tumblr post.

Some Good Omens actors are in SAG-AFTRA, some are in Actor's Equity (the UK union), some are in both. Those in SAG or in both would be unable to promote the show.

[lumaxmayclair]

TIL that UK Labour law is so anti Union that according to this Variety article, in general you will have to continue to work on projects under Equity* contract even if you're a SAG-AFTRA member otherwise you can face consequences such as dismissal or even being sued for breach of contract.

I'm sharing this in case there are questions about why this or that actor seems to continue to work during the strike. We don't know their contract and if it's Equity instead of SAG, they're not scabbing. It's not their fault, it's the fault of the studios in the US and the government in the UK.

*Equity is the UK version of SAG-AFTRA

[ankle-beez]

To Our Guild Leadership and Staff: We are proud rank-and-file union and trade association members from every corner of our industry — working on screen, stage, set, and in the field — united in solidarity with the global call for a permanent ceasefire in Gaza and a just, lasting peace. As artists and storytellers, we cannot stand idly by as our industry refuses to tell the story of Palestinian humanity. Following SAG-AFTRA’s statement in sympathy with Israel regarding October 7, many SAG-AFTRA and sister guild members have watched in horror as the Israeli government wages a war of collective punishment on the civilian population of Gaza — killing over 40,000 Palestinians, injuring over 90,000 more, forcibly displacing 2 million people, and openly targeting members of the press and their families. As the IDF continues its assault on “safe zones,” schools, and hospitals, and as civilians in Gaza die from starvation, dehydration, and lack of medical supplies and fuel, major human rights groups have labeled these acts as war crimes, human rights atrocities, and even genocide. The UN has described Gaza as a “graveyard for children” — and estimate that by mid-July “half of the population — more than a million people — could face death and starvation.” As of now, there is no end in sight — only escalation, death, and destruction.

Despite these clear violations of human rights and Israel’s decades-long occupation of Palestinian land and lives, our union leadership has remained silent. Thus, they have made conditional which atrocities we choose to condemn and which innocent lives we choose to acknowledge and mourn. Moreover, SAG-AFTRA and nearly all our sister guilds have remained silent in the face of flagrant and unprecedented attacks on freedom of the press, including the deliberate targeting and murder of Palestinian journalists and their families by the IDF. The Committee to Protect Journalists has declared the war on Gaza “the deadliest period for journalists covering conflict since CPJ began tracking in 1992.” Some of those journalists were members of news organizations whose domestic affiliates are represented under SAG-AFTRA contracts. While SAG-AFTRA issued a public statement at the outset of the Ukraine war demanding that “journalists of all nations working in the war zone are kept safe,” its words now ring hollow if they only apply to some journalists of certain identities.

On December 13, 2023, Israeli forces attacked The Freedom Theatre in the Jenin refugee camp and kidnapped several of its members — fellow actors and directors, who have called for solidarity from theatre workers worldwide. Palestinian trade unions have called for international labor solidarity, reminding us that “the struggle for Palestinian justice and liberation is a lever for the liberation of all dispossessed and exploited people of the world.” Worldwide labor has heeded that call, including major Australian, British, Belgian, Indian, and American unions. On Nov 15, our British peer union, Equity UK, called for an immediate and lasting ceasefire, stating: “We send our solidarity to Palestinian artists suffering in the horrendous conditions created by Israeli bombing, occupation, and apartheid.” Since then, UAW International has called for a ceasefire and announced the formation of a Divestment and Just Transition working group; The Animation Guild (IATSE Local 839) became the first Hollywood union to call for a ceasefire in Gaza; five of the 10 largest American labor unions and federations have officially called for a ceasefire including the NEA (National Education Association), SEIU (Service Employees International Union), and the AFL-CIO; and unions collectively representing a majority of organized workers in the US formed The National Labor Network for Ceasefire. In July, 7 major unions representing over 6 million workers published a letter to President Biden demanding an arms embargo on Israel.

The global call for a ceasefire — from organized labor, artists and fellow SAG-AFTRA members, human rights groups, world leaders, and the majority of the American public — grows louder every day. And yet, our government continues to sponsor the Israeli forces’ assault on Palestinian civilians, and our industry union leadership still refuses to speak out. We reject this silence. Our calling as artists, news reporters, and storytellers is to bring truth to the world. To fight the erasure of life and culture. To unite for justice in the name of the most vulnerable among us. It’s exactly what we did during our historic strike in 2023.

We are the labor that built and sustains this business. When our leaders can’t stand up publicly for peace and justice, then we must do what we always do: organize, fight for change, and win. Our guild leadership must join the largest and most diverse peace movement in a generation — the integrity of our legacy demands nothing less. When confronted with genocide, oppression, and injustice, let us ring the bell for humanity and liberation. An injury to one is an injury to all. We, the undersigned members of SAG-AFTRA, IATSE, WGA, Teamsters, DGA, AEA, AFM, Hollywood Basic Crafts, CSA, PGA, and more, demand our leadership issue a public statement calling for a permanent ceasefire, release of all hostages — both Palestinian and Israeli, and immediate funding and delivery of desperately needed humanitarian aid; to speak out against the targeting and killing of innocent Palestinian civilians, health workers, and our journalist colleagues; to condemn our industry’s McCarthyist repression of members who acknowledge Palestinian suffering; and to eliminate any doubt of our solidarity with workers, artists, and oppressed people worldwide.

[causalityparadoxes]

[Full Tweet by Streamr: Russell T Davies discussing Susan Twist's appearances in #DoctorWho Season 1:

"We ran out of actors actually, genuinely, there was a shortage at Equity. So we keep using Susan Twist for a lot of things just because we like her. and that's the simple reason why - there's nothing behind it. No mystery, no nothing [...] Yes, she keeps cropping up faithful viewers. Yes, we've noticed, and yes you've noticed. /end Tweet]

I need to know that everyone knows how ridiculous of a statment this is. How absolutely farcical.

The UK has thousands of actors. The majority of whom are in Equity because that's the UK's Actors Union. Equity has 50 thousand members. Granted not all performers are screen actors and even less are older women. But thats still A LOT OF ACTORS.

Yes the UK has like 20 actors with star power and 50 who get all the big roles. But there are so many people here trying to make a living off their art. Many of whom would kill to have a small role on Doctor Who or similar.

There are lots of actors who would fit the description of all of Susan Twist's characters. Especially considering most are small parts with minimal screen time/lines.

Doctor who is not short on actors. They are not isolated. They have experienced casting crew with lots and lots and LOTS of connections. There will be dozens of agencies scrambling to get their actors into auditions for every role made available!

The idea they couldn't find 4 different older women to play roles with only a few lines is absolutely, hilariously, patently false.

This is possibly the funniest excuse he could have EVER made okay. I need everyone to appreciate that. This isn't "haha probably a lie but possibly believable". This is the bold faced lie of a guy who isn't telling anyone SHIT.

Only 5 actors in the entirety of the uk indeed, lmao

[glassprism]

Why was the Broadway Production allowed to reopen relatively unchanged post Covid?

The blocking was changed a bit but, the set remained the same and mostly all of the cast, orchestra, and crew returned

Was it some sort of legal thing that prevented it from changing too much?

Because the US has stronger Equity regulations.

If you don't know, Equity is the actors' union in the US and UK (Actors' Equity in the US, Equity in the UK), and amongst theater fans, it's somewhat common knowledge that US Equity is much stricter in it's rules. Why do you think Broadway Phantom's chandelier is so gosh dang slow? And for years, the Phantom not catching and carrying Christine at the end of 'Music of the Night' was blamed on stricter Equity rules (that theory's a bit up in the air now).

But despite US Equity causing some changes in the production that fans are less than pleased by, in the case of Broadway Phantom's re-opening, it definitely benefited the cast, crew, and orchestra, preventing them from being summarily laid off (and over Zoom no less) and stopping some of the more drastic changes.

(In fact I've seen some people who were surprised they allowed any changes at all, because it was not just blocking that was changed: some of the the wigs and costumes were, some of the orchestrations, a few lyrics, that kind of thing. But it may be that they weren't deemed to be large enough changes to warrant greater action, and it has to be said that Phantom has made little alterations to almost all of the above over it's run, though never all at once.)

But as we all know, there's a way around that: if you can't change a pre-existing production, then just close the production and start a new one! Can't be tied by Equity show rules if there's no show!

[denimbex1986]

'Irish actors claim they have been treated like the poor relations in the film industry for decades despite big government tax breaks for major studios.

LA-based actor Alan Smyth revealed that Colin Farrell, Ruth Negga and Cillian Murphy have signed a petition for fair and equal pay for native performers and crew.

Over 2,500 people have added their signatures online.

It says the Irish diaspora in the US and worldwide strongly support the efforts of Irish Actors Equity, which is in talks with several government ministers to secure a guarantee “that Irish performers will not be subject to lesser terms and conditions regarding their intellectual property rights than international performers in similar roles”.

“This, unfortunately, has been the case for many years,” it states.

The petition is still open as Irish Equity plans to hold a solidarity rally with the striking SAG-AFTRA union and the Writers Guild of America today.

Smyth, who is from Dundalk, has first-hand experience of the set-up on both sides of the Atlantic. He has reaped the benefits of the American system where actors traditionally got residual cheques whenever their performances are aired.

The threat now, he says, is that the so-called “streamer” networks are imposing drastic cuts to the value of the residuals.

Hence, the strikes.

“It’s a lot worse in Ireland,” said the actor, who has starred in a number of big TV dramas, including CSI: NY and Criminal Minds.

“The system in Ireland is that the Irish cast and crew for the most part, unless it’s Colin or Cillian, are put on buyout contracts so don’t get residual payments.

“The awful thing about it is the Irish Government gives tax breaks to film and TV productions. Within the productions, the Irish cast and crew are paid far less than anyone brought over from England or the US. It’s 100pc discriminatory.

“Colin, Cillian and Ruth Negga have got behind the petition. They know how hard it is until you get to a point where you’re doing really, really well. I can really see how hurtful it is in Ireland.”

Actor Gerry O’Brien lodged a cheque for $800 (€735) yesterday for his role as an Irish man in Pirates of the Caribbean years ago. The payment covers just a quarter of the year.

He got a US contract for the job, rather than the typical Irish buyout one.

In contrast, he has earned just €54 in residuals in the last 20 years here. That was for an RTÉ TV series.

O’Brien said Equity wants a contract for Irish actors like that on offer to their British counterparts. The coveted UK contract sets out minimum pay rates, residual arrangements and other terms and conditions.

Irish production companies offer the buyout contracts on behalf of the major international studios when they are in town, he says.

A Dublin-based actor (27) did not want to be named for fear he would be “blacklisted” when going for jobs.

He has been following the Hollywood strike very closely.

“It shines a light on just how unfair the industry is,” he said.

“Those at the top are earning incredible amounts of money and profit. In a large part, it is due to those at the bottom scraping a living.

“I graduated from drama school in 2017. Last year, I made the most money I ever made working as an actor and that was €14,000. Obviously that is not sustainable.

“If you work on an Irish film, you get paid for the day of work and never see another penny. I routinely sign off my rights for €600 or €700 a day.

“I’m delighted that Cillian Murphy and Colm Meaney are coming out in support of small fry actors like myself.”

Actor Owen Roe has won many theatre awards during his career and his film appearances including Breakfast on Pluto, Intermission, Wide Open Spaces and Michael Collins.

He said actors here are “not prepared to go on strike” but it is an opportunity to inform younger ones of their rights.

“It’s far more competitive as well . There is AI and all those things. The whole buyout situation is not good for us.”

He was glad to see Cillian Murphy and other stars walk out of the Oppenheimer premiere in support of their US union.

“They don’t have to financially, I’d imagine,” he said. “It gives confidence to people who feel they are being exploited.

“I think it will be interesting to see what happens in America. If the whole thing of buyouts and residuals gets sorted. The attitude that we’re cheaper is offensive,” he said.'

[sgiandubh]

The ripple effect

So finally, it would seem the news from Hollywood are not good at all. A press release from SAG-AFTRA informs us that AMPTP/TPTB chose to drop the towel after a very long negotiation process (not a good sign, in my book), that continued even after their latest unacceptable offer, as you can read down below (https://x.com/sagaftra/status/1712368110253285730?s=20):

The mainstream media (always NYT, in this house) reported also on the studios' offer, which may or may not be helpful for understanding what exactly is at stake (https://www.nytimes.com/2023/10/12/business/media/actors-strike-talks-suspended.html?searchResultPosition=2):

Now that is a very hardball, completely insolent position. I am peeling my eyes in disbelief at the idea of offering 'further protections around the use of A.I.', when it was hoped that the use of A.I. would be treated as an exception, not as future reality the industry should work 'around'. This is what really is at stake, not the almost abusive allegation of 'unbearable economic burden' (that is a mafioso pretext) an 800 million USD yearly viewership bonus would supposedly entail. The real financial impact of such a compromise solution, as disclosed by SAG-AFTRA, is negligible: 'less than 57 cents/subscriber'.

And, to make things worse, it would seem the studios deliberately lied to the press, too (it would not be the first time - we shippers know it so well, eh?):

All this circus, despite a cataclysmic impact on California's economy:

(Sourced at: https://www.nytimes.com/2023/09/21/realestate/writers-strike-rent-ny-la.html).

And that was the situation three weeks ago, when I found this article and promptly set it aside, waiting for the right moment to share it with you. And you know the situation is serious, when news like these are to be found not in the business, but in the real estate section of the newspaper. Along with this kind of comments, likely to suggest the possibility of unrest, if things go on like this:

People living in their flats without electricity or sleeping in their cars: it would seem this strike added unwanted insult to the drastic COVID injury in this particular sector of the labor market.

But what interested me the most about this whole affair was the ripple effect on the British film industry, in an attempt to see what is next for OL's Season 8. Thankfully, I didn't have to go very far and speculate more than the NYT did itself. Oh, and before Mordor starts shouting insanities, their LHR's correspondent paper, back in September, is called 'Hollywood Strikes Send a Chill Through Britain’s Film Industry' (https://www.nytimes.com/2023/09/19/business/hollywood-strikes-uk-filmmaking-industry.html):

Despite my unflappable optimism, I have to say that doesn't sound good at all, especially when you know this is precisely the case for OL, a production 'with stars who are SAG-AFTRA members' (or at least compelled to stand in solidarity with the strike, by SAG-AFTRA's own statement of conduct). I predict a very late start for the shooting of Season 8. And further unrest in the UK sector 'in the middle of next year' means that UK based and staffed productions may be fewer and less important, since that calendar announced by Equity could seriously compromise their promotion, a risk not many studios are willing to take. So less alternatives for both S&C, at least for the UK alone.

The writers' strike was a very long one - five months. I suppose the studios are willing to play for time and prefer a long stalemate of the negotiations with SAG-AFTRA, in the attempt of breaking the union consensus from the inside. With people's economies gone and the prospect of a dire, uncertain way ahead, there is no way SAG-AFTRA's compensations, mainly aimed at keeping people afloat with their rent costs, could cover the real impact on its members' everyday lives, on the long run. They would also prefer to foolishly cry over a fictitious 800 million USD 'burden' and not see the (at least) six times bigger negative impact on the local economy, which translates both in net losses of profit for thousands of businesses (mainly SMEs) and thousands of lost jobs.

And in the middle of all this, it would seem that Herself is on her way to the NYCC. Whatever for, sweet summer child, I would brazenly ask this strange, diminutive woman who started it all.

[iww-gnv]

EXCLUSIVE: “We are not going to have the UK used as a backdoor to undermine SAG-AFTRA’s dispute,” the leader of UK actors union Equity has declared. Speaking exclusively to Deadline prior to Equity’s first rallies in support of the U.S. actors’ cause, Paul Fleming denied that the labor action which has just entered its second week across the pond will be a boon for his members. Much of the talk internationally has centered on whether more international actors will be able to get work while U.S. talent down tools and some U.S.-commissioned shows filming internationally such as House of the Dragon and Alien have pushed on with British talent. But Equity has said, for example, that it will unequivocally support SAG’s refusal to isssue new Global Rule One addenda during the strike and, while refusing to comment on specific shows, Fleming pointed out that “access to American talent drying up” impacts the entire global industry.

[brian-in-finance]

Hi Brian

I dug this out from an old pile of papers from 2020, your post about CB sitting on the Nicholl Fellowships Committee reminded me of her involvement in Equity’s 90th birthday photoshoot (along with another familiar face). 

I agree with anon, she strikes me as someone who will know exactly how to network and apply herself behind the scenes. I will be surprised if she doesn’t have big things ahead of her. 

Hi @swanlakebird. Thanks for the message. 😃

I think you’re referring to Anon from the 3rd of October who said, “Looks like Cait is on an interesting path in HW not just as member of The Academy of Motion Pictures and actress but also making things work in this industry from BTS.”

Agreed! Thanks, too, for including this image:

Insert/Member Information from Equity UK, the “Trade Union representing performers & creative practitioners,” Summer 2020

1st Row: Crystal Yu, Jamael Westman, Julie Walters, Richard Rankin, Michelle Terry

2nd Row: O-T Fagbenle, Shobna Gulati, James Norton, Susan Wokoma, Ian McKellen

3rd Row: Sarah Gordy, Matt Lucas, Caitríona Balfe, Gwylym Lee, Annie Wallace

Interestingly, his Equity card relates to Richard’s changing his name.

Rankin auditioned for Langside College with his brother Colin Harris. Both graduated and went on to a career in acting, but when Rankin, who was then known by his birth name of Richard Harris, applied for his Equity card he began using his mother's maiden name (Rankin) to prevent confusion with Irish actor Richard Harris. — Glasgow World

Twitter

News of her involvement in the Academy’s Nicholl Screenwriting Fellowships came right out of left field. I think we can be confident Caitríona has irons in a few interesting fires.

Remember… there are far, far better things ahead than any we leave behind. — C. S. Lewis

[six-costume-refs]

Hey so I’m a lil confused on what happened with the West End Alts situation, all I know is that because they reduced from 9 to 8 shows a week, the alts no longer consistently have at least one day a week on right? But then I hear about how there’s something up with the alt costumes too? Is it possible that you can summarise bc all I’m seeing is fallout across various instas

Hey! So...there's a whole lot. Quick note that I've been on hiatus the last few weeks so apologies for taking so long to reply to you (and I know I have many more unanswered asks on this to get to as well, so apologies to y'all and will do so when I have time).

I did briefly hop in from hiatus to post this, which I would suggest reading. I was light on details because I simply did not have time to go into it more, but it gives a base for a lot of what I'll say here. First things first, the show schedule. Most West End shows perform eight shows a week: 6 days of shows with 1 day off, and 2 of the days have an extra matinee added. It's meant to be optimal for tourist audiences and families. But Six is a much shorter show with an unconventional format that originally wasn't really trying to appeal to those traditional musical theatre audiences, and so a lot of their marketing promoted them more as a fun night out pop show rather than a West End musical. With that and the shorter show in mind, they operated a nine show per week schedule (they've also had some similarly unique scheduling and marketing in the US, particularly for Broadway and the Vegas run). However, the way that pay is set up under the UK actor's union (Equity) is based on the more conventional West End schedules, with actors contracted for either eight show weeks or twelve show weeks. So Six has had all their actors on eight show week contracts, and covered the one show disparity between eight-show-contract and nine-show-schedule by requiring that all actors have to have one show off per week. This meant that each role would have to have a cover perform for at least one show per week. Hence, the West End alternate system was born! But it's been almost five years now, and the outlook for Six is very different. The West End production is very successful, very established, much more polished, and hugely appealing to a more conventional tourist audience. They don't need to focus on setting themselves apart like they originally did; they've long since established themselves as a tenet and huge force of the West End, and much of their marketing now focuses on that status. (A really good comparison for anyone who is from the US and was into theatre about ten years ago is how Hamilton shifted their marketing - they started out as another unconventional, "risky" show that really leaned into those features as part of their marketing, but as the show became more popular and mainstream they've long since started to focus on ongoing success and tourism.) So, yes, right now, they are trialing an eight-show-per-week schedule. Without the ninth performance, they do not need scheduled alternate shows and so they are temporarily not happening during this trial period. Which sucks, but the switch to eight shows is a good thing and is one of many examples of how they're shifting their operations for that longevity by optimizing financials. It's also much more sustainable for everyone involved with the show, because Six is very intense and overuse injuries are rampant. But, again, they are promoting this as a trial period. It gives them time to see how it works financially and to see how the cast functions with this performance schedule (including if more covers could be needed in the future). They'll re-assess, probably in Jan/Feb, and see what happens then. I'm personally expecting that they will keep an eight week schedule, but it's also wholly in the realm of possibility that they might do so and still re-introduce some level of scheduled alternate system, depending on what needs/concerns they find. (Right now the UK Tour principals each have a show off every other week with alts scheduled for their first covers on alternating weeks, while Broadway/NCL swings out each principal for one show every few months, so there are definitely systems for some scheduled swing-ons that are significantly reduced from the weekly alt system. And of course the alts will be on for any injuries/illness/vacations, of which there have already been many). It's also worth noting that because this is a shorter trial period, the contracts will likely have to be renegotiated in some form. So....the costumes.

We've seen some pretty clear evidence for them in the theater, starting in tech week. Naomi and Hannah both posted their makeup; both of them got glitter eyeshadows for both of their principals plus a third glitter that matches the color of an alternate costume (Naomi orange, Hannah light pink). They also both got palettes that were inclusive of both their queens colors' and those alternate colors: for Hannah it's a pink palette that some other Howards have used in the past, but for Naomi the dominant color is oranges and it's a very blatant departure from what makeup they've given Cleves principals/alts in recent years so I really don't find there to be an easily argued alternative explanation. And Hannah got three lipsticks, in the exact same shades that they normally assign for Howard, Parr, and pink alt. We've also seen blue, orange, and pink alternate costumes in the theater, but weeks after the previous' cast's costumes were loaded out and stored in one of their maintenance areas. I've posted about all of that a fair bit in this thread, although note that it hasn't been updated in about a month and is now out of date. But starting about two weeks into this current cast's performances, there have been a couple messages/statements about both alt costumes and covers that seem to imply they don't exist, which I think is what you saw. However...I think they've all been worded oddly and far too carefully, plus the very tangible evidence of alt makeup, plus the existence of alt costumes was also denied in 2021, so I've been incredibly skeptical. But earlier today on live Hannah said they aren't contracted to have second covers for the moment, which is pretty clear but with a providence that that may not always be the case. That also ties in with a theory I've been forming over the last few weeks: that Six is still undecided on whether these alternates will have additional covers, but has had the costume team make all the provisions necessary so that covers can be very quickly added when those decisions are made. This also allows the costume team to move on - most of them are working on Starlight Express these next few months and likely wouldn't be able to return to Six at the drop of a hat for all the prep needed to alt costumes later on. Setting everything up in advance for that possibility is just more efficient for everybody and would allow the alts to quickly learn/debut new tracks if needed. To me, those plans most likely mean: - That the alternates were fit with pre-existing alternate costumes that are now altered for them and stored in the theater - That the alternates were given makeup for all three queens, such as the glitters/palettes/lipsticks that I talked about above - That the alternates were given wigs/hairstyles that intentionally have more versatility in their rigging/cuts to be repurposed for a wide variety of queens if needed (which does seem to be the case, and is not how they'd be set up if they were purely intended to be worn as we've seen them used so far for their first covers) (Also noting that if they're not formally contracted for any additional covers, they cannot be formally rehearsing them; that's why I expect that if they were to add any additional covers it would be finalized and contracted when the performance schedule is for convenience's sake) However...again, this is purely a speculation/theory of mine based on what I've seen and some of the very careful wording (but does seem supported by Hannah's). And even if I'm correct, Six preparing for the possibility of second covers/alternate costumes does not necessarily mean that that will actually wind up in use. Once again, Six is moving to a longer-term focus and in some trial periods to see how they can maintain the show going forward, so some of the production management will still be in flux in the coming weeks/months.

[neil-gaiman]

Has Sandman filming stopped with the SAG strike, or is it continuing in the UK under Equity? To be clear I’m asking with the hope it has, both because as much as possible needs to be shut down to hit the studios where it hurts, and because as a fan I’m hoping it restarts with both strikes having resolved so adept rewrites can happen when needed.

There are a lot of SAG actors in Sandman who are not in Equity, and they are no longer able to work at all. So it has closed down.

[beardedmrbean]

Benji Gregory, the child star who appeared in ALF, has died aged 46

Gregory’s body was found on 13 June, with a cause yet to be determined.

According to TMZ, the actor was found in his car in a Chase Bank car park in Peoria, Arizona alongside the body of his service dog, Hans.

The actor’s sister Rebecca, speaking to the outlet about her brother, revealed that the child star suffered from bipolar disorder, depression and a sleep disorder that sometimes caused him to remain awake for days at a time.

The outlet notes that those close to Gregory believe he might have died of heatstroke after falling asleep in his car.

Gregory appeared in all four seasons of the 1980s sitcom ALF, which is an acronym standing for “Alien Life Form”.

The series, which aired on ITV in the UK, saw the alien crash land in the garage of the Tanner family, led by Max Wright and Anne Scedeen, with Gregory playing their son Brian alongside Andrea Elson, who played his sister Lynn.

Ahead of securing the role in ALF, Gregory, whose grandmother was his agent, appeared in TV shows including Fantasy Island, TJ Hooker and The Twilight Zone.

In the 1990s, he guest starred in the sitcom Punky Brewster and provided a voice for animated film Once Upon a Forest. Gregory also voiced the character of Biff Tannen in an animated version of Robert Zemeckis’s hit 1985 film Back to the Future. Tannen was played by Thomas F Wilson in the franchise.

The following decade, Gregory enlisted in the US Navy and, in 2005, receiving an honourable medical discharge. After officially leaving the Navy in 2006, he married his wife Sarah.

Gregory’s sister asked people to donate to The Actors Equity Foundation or the ASPCA on her brother’s behalf.