How Much Free Work Do Writers Do to Get Paid Work?

So you open Google Chrome on your phone, you’re rushing to buy tickets to

a concert that all your friends are going to. Picture yourself now. Crowd surfing to the front, being invited onto the stage, backstage the world tour, and before you know it, you’re dancing in Tokyo. Wait. What?

Three tickets left, It’s a good thing your saved payment details auto fill quickly and securely. There’s no place like Chrome. Download Google Chrome on your phone. Welcome back to The Bulwark goes to Hollywood. My name is Sunny Bunch, Bulwark

I’m very pleased to be joined today by Colby Day. Now Colby, a working screenwriter. Since two thousand and seventeen, he is the writer of spaceman. It’s a Netflix movie that’s coming out here soon. And the the screenwriter of in the blink of an eye, which was a blacklist making blacklist appearing screenplay back in twenty sixteen, that is in I I think just you said just finished right shooting?

Is that just just wrapped up? Awesome.

Just just in the nick of time.

Got it in under the under the — Yes. Under the the, I don’t know, in the just in the nick of time, which it brings me to kind of the subject of this episode. So I One of the reasons I wanted to have Colby Day on today was because a former guest of the Bulwark goes to Hollywood, John Salzierny, turned me on to a series of medium posts he has written over the last couple years here, just highlighting the amount of work that goes into actually getting Bulwark. In Hollywood if you are a screenwriter, which is It’s

a lot.

It’s a it is a daunting sort of process here. But thanks for being on the show, Colby. I really appreciate it.

I’m so excited to be on. And I’m so happy that that Sean recommended me as a resource. I think he’s a very smart guy. We’re just Twitter Twitter buddies, but he seems like a good one.

He is he is fantastic. To follow if you are on Twitter and interested in screenwriting. So let’s talk about let’s talk about life as a screenwriter, when you’re not actually sitting down and writing something, you know, that you’ve been been hired to do. I don’t think people really understand the process of getting work in Hollywood. You know, I mean, for for actors, you there are movies, where you watch, and people go, they go to, you know, auditions and and tryouts, and like, you can kinda understand that.

But I I think with writers, it’s different because this is all behind the scenes. I mean, writing is writing is writing, but not all writing is or pay, walk us through walk us through what your average kind of year looks like to get from like, unemployed, too employed.

Oh, boy. How long do we have?

Well, this is great because now I’ve asked

these questions now. I can just, like, start I can sit back for the next thirty minutes.

Sit sit back. Here we go. Well, I think that I think that the interesting thing that I’ve discovered which nobody really prepares you for as you’re learning to be a writer is that a big part of your job is auditioning. And it doesn’t it’s not called auditioning, but it is to come in and have a meeting about a project or a book or a comic book or article someone read on Reddit and tell them here’s what I would do. So the amount of work that goes into that is, you know, you generally have to come in and propose here’s how the movie would go.

Which is sort of like a, you know, fifteen minute presentation on here’s what the story would be. Here’s what the themes are. Here’s how the movie would work. Here’s why you should hire me to do that. And the amount of times you do that over the year depending, I guess, on your how you know, often you close a deal is I think that I’m generally working on about eight things at a time.

And I’ve had about one to two projects move forward to the point of of being paid to work on them each year since about twenty seventeen. I think their years where it’s a little higher and a little lower, but I think I would generally work on about fifteen things over the course of a year.

Alright. And, let’s let’s talk about Let’s let’s try to help people understand what that actually looks like in terms of prep, in terms of writing, in terms of, like, things you actually have to put together at a pitch meeting. Like, what is it? What what are you what is your, like, actual work process like when you’re when you’re preparing for something like this.

Yeah. I I basically will be sent And, you know, this is all the privileged position of being someone who does work. Right? So this is first you need to pass the barrier of entry of people thinking of you as a person that’s viable to hire. So once you’ve passed that tremendous hurdle, then you have agents or producers or managers who send you a piece of material and say, would you want to work on this?

You can write original material I’ve been doing that the whole time I’ve worked in the blink of an eye, which is the movie I had on the blacklist, is the first piece of original material that I’ve had get produced in the you know, six, seven years that I’ve worked in Hollywood, the vast majority of the work you get is to come in and sort tackle something that’s preexisting. So what happens at that point is you get sent. Here’s a short story. I will read the short story. I will kind of do a preliminary few hours of prep work as far as, like, how would this work?

Could this be a movie? What would the movie look like? And then you have a meeting and you have a meeting with probably, like, the lowest junior person on the team who’s trying to produce this movie. And they tell you, here’s the ten ways we’ve already tried to do this that haven’t worked, and you say, okay, great. I have a slightly different version.

How is this? And that’s an hour meeting, and then you spend, you know, a week or two based on their feedback to try to come up with Okay. Here’s a way that I could tell you the movie in about twenty minutes, and that really entails sitting down and doing the vast majority of the work, honestly. Like, you’re you’re trying to figure out what would the story of the movie be. And this is for free.

And you’re also doing this in competition with probably five to twelve other writers. Some of whom are kind of at your junior level and then most of whom are probably at a higher level than you and a little bit more in demand. And you pitch again your idea to this executive. If they really love it, they’ll then add one more person from the team. That sort of is the the metric for, like, did I do a good job?

Is, like, am I getting a higher person within the corporate structure on the next call. And so you’ll start with a creative executive. You’ll pitch them. If they like it, you’ll have you know, feedback from them and then another week or two before you come in and pitch it to them and, like, a vice president and then you’ll hear from the vice president how he really doesn’t like this thing you’ve decided what happened in act three. So you spent two weeks trying to figure out what could happen.

That’s not that that the vice president doesn’t like, then you’ll talk to the vice president again, and then you’ll have another couple weeks where you work on it. And then they’ll add, you know, the president of production or an SVP or whoever, like, actually decides. And then you’ll pitch to whomever actually decides and that’ll generally include like a financier as well, not just the producers. So you start to get a Zoom meeting with, you know, what started as you and one other person sort comes like a Zoom meeting of, like, twelve people as you kinda move up the ranks of this, and this has all taken place over the course of about three months. And then you pitch the project.

You tell them here’s how the entire movie would go. Here’s why that’s exciting. Here’s what would happen. Here’s all the crazy events that, you know, our our big blockbuster material And then they say, great. We’ll think about it.

We’ll talk to you later. And I would say of you know, eight to ten of those, I’ll get one. And I think that that’s I don’t know what other people’s numbers are. That’s why I started writing these medium posts because I just was like, am I doing a bad job? Am I doing a good job?

Is ten percent good? Is is five percent good? Like, what’s the metric? But it it all happens within this weird black box, the writing part for the writer, but then also the decision making part And so I think it’s really easy as the screenwriter to kind of feel like Is this how it works? Am I doing it the way I’m supposed to do it?

I still don’t know. And I’ve written these for two years, and I’ve had many people write back and tell me, oh, yeah. This is what it’s like. But it it it all happens in this weird black box where you just are in a meeting with an executive, and they’re not gonna tell you if they’re asking for more work from you than other people or, you know, you’re doing a better job or a worse job, like, you just don’t know. So I do that all year long, and then I hope that one of those hires me.

And if I can get one job in the year, that’s generally, if you’re in the guild about enough to survive on for the year in features, but to get the one, you really have to go out for you know, twenty. I think in twenty twenty one, I went out for something like fifteen to twenty different movies and got none of them.

So you you mentioned hearing from folks. I mean, what what do you hear from other writers when you when you put these up? I mean, is it is it just like, yes, this is This is my life where where, you know, what what what is the response?

It’s interesting. The response to here’s how trading this job is has overwhelmingly been, yes, you’re correct. And I actually found that really reassuring, and I think that it’s really easy to to do this work kind of in the void. And because your only feedback is the one person who’s deciding whether or not to buy the thing you’re selling, it feels really, really hard to know if you’re doing a good or bad job. And I think that overwhelmingly the features landscape, especially for for future writers, is is one where.

Everybody wants you to adapt a piece of material. They you are in sort of like a bake off, which is what we call, like, you’re competing against other writers for that job. And, you know, fifty percent of the time that’s a project that then the studio decides they’re not gonna pursue anyway. And so you all do all this Bulwark, and then your manager is like, yeah. I don’t know.

They just they didn’t figure it out. You’re like, okay. Well, did a ton of free work, and let’s see what happens. So it’s I think it is uniformly the problem in feature writing that there the amount of free work required is I mean, it’s close to fifty percent of the work of writing the movie. You know, you really are trying to figure out the outline of a film prior to being paid anything.

Well, I mean, so this is one of the things I know the writers

have have long complained about, I think, for fair reasons. And one of the things that I I believe was addressed is being addressed in the current WGA action. What’s your sense of how that how that is playing with the studios. If you have one at all, I mean, I’m I’m curious what you’re what you make of the the kind of current state of of play with regard to the writer’s strike and how things are rolling.

Yeah. I I mean, the the TV business is has always been an easier thing to deal with in terms of studio contract negotiations because it’s really clear metrically how it Bulwark, and it’s a really codified system. T. V. Works in a sort of production line manner that it easy to sort of build, like, union guarantees.

Features are the, like, wild west of, like, do you or don’t you wanna buy the movie and are we gonna make it or not? Maybe we’ll have one writer, maybe we’ll have eight writers. So it’s always sort of been the hardest thing to wrangle within studio negotiations and the the constant in every negotiation is free work. And the amount of free work you have to do to get a job, and then the amount of free work you do once you have the job, which is like the second part of the ask here. So there has sort of been a consistent push amongst feature writers that what if we got paid to pitch movies?

We are doing work and shouldn’t you get compensated to do work? So that is one of the asks. I think that that’s nonstarter, honestly. Like, I just think it’s been on the table every negotiation and it just seems like it won’t happen. I think it would fundamentally change the ecosystem of Hollywood, and I think it would fundamentally change it for the better.

I think that There is no capacity for, like, diversity, equity, and inclusion in this business until you pay people to do the work they’re doing. And to to get people to, like, spend three months, six months working on something for free means that the only people doing it are people who have the capacity to work for free.

Well, can I alright? So I’ll play devil’s advocate here and and push back with the the counterargument. Right? Which is that the the counterargument that you hear is if we if we, the studios are required to pay people to come in and pitch us ideas, we’re only gonna bring in people we know, who we’ve who we know, who we’ve worked with, who we think can deliver the product. We’re not gonna take a chance on some some random person that the the manager wants to send us?

I mean, do you think that’s a do you think that’s a fair counter or is that just a a a dodge?

I think that that is the counter. I I don’t actually think it’s a fair counter because, you know, the the people who are coming in to pitch on material anyway, are already prevetted industry professionals for the most part. Like, you’re rarely getting someone that you found on line, you know, who, like, has good writing. You’re generally bringing in people who have some sort of track record even if it’s just, like, hey, we think this is a promising writer. So I do think it’s kind of a dodge, and I I also think that the the same, like, mark forces still exist, which is a younger writer will be less expensive.

Like a less experienced writer will remain less expensive the whole way through. And so to say that while we won’t bring younger writers into the process is kind of a spurious debate because, like, No. You will. That’s cheaper. It’s cheaper to bring in younger writers.

So I just sort of think that that’s a dodge and it’s sort of a way to say, this work isn’t work, when it Bulwark, and I and I think it excludes people who who could and should be paid for the work that they’re doing and can’t afford to not be.

Yeah. The the other element of the free work here is something that, again, I I think a lot of people don’t really kind of understand how certainly feature writing works in terms of the payment schedules, how, you know, how many rewrites are expected to do, what counts as something that’s been accepted versus hasn’t been. Could you could you run through that for us for for folks who who don’t? Necessarily know how that works?

Yeah. We’re getting into the nitty gritty of deals — Yes.

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which I love. So the way that a features deal normally works is you are hired to perform writing services, and that can mean There’s a few different steps that are part of your deal. So in an ideal deal, you would be hired to deliver an outline or a treat and that’s basically, here’s what the movie will be, just in prose. It’s a short document. It just is to say, here’s what I think the movie will be.

From that stage, you would then be hired on a second step which would be okay, write a draft of the movie. So that would be your first draft. In an ideal deal, you would then be hired to do a revision of the movie, and that would be the second draft or rewrite step. The way that the the way that a film contract works is you are paid at the beginning of and at the end of every step that you do. So if you have a two step, you know, a deal with an outline, a first draft, and a second draft, you would be paid maybe ten percent for the outline, fifty percent for the first draft and then forty percent for the second draft.

It just sort of breaks up the amount of payment you’re getting and in theory ties your payment to the delivery of materials, which in theory makes sense. The reason that this ecosystem is kinda broken down is delivery of a the material and putting that in air quotes is sort of determined by the person who’s taking it from you. So if you receive a script and you say, gosh, cold beep, we think it’s very close to being good. But we would love, you know, these ten things to change. Then your writer is kind of beholden to trying to change those things.

And trying to do so in, like, a quick expedient, not really constituted as a as a draft revision. And not being paid any extra for that work because it’s kind of lumped into well, we really don’t wanna send this draft to the finance years yet, we don’t think it’s ready. They’re not gonna like it, and it’s sort of tied to the fear of like, well, if nobody likes this, we might replace you. So there it’s become this ecosystem in which in theory you should be paid each step of the way as Bulwark. However, you’re kind of held up at each checkpoint for weeks, months, years as far as, like, the studio kind of continuing to ask for free work for you to revise.

And

I have

a movie that I I pitched in twenty nineteen, it took them two years to hire me, which is insane in and of itself. And then each step of the process from the outline to the first draft to the second draft. I would turn something in and then three months would go by. So something that should have taken, you know, in a contract, you generally have eight weeks to write a movie, twelve weeks to write a movie, something that should have taken about a quarter of a year has taken me two and a half years to get paid for. And so there’s this amount of there’s both the amount of work you’re doing which is sort of being like boosted while compensation doesn’t go up.

And then there’s the amount of time you’re working on the thing, which has also sort of expanded and isn’t being taken into consideration for these deals. So Part of what the current negotiation is about for features is also trying to tie payment to a weekly structure. And this is another thing that would just, like, fundamentally change the way that feature writer’s lives work, is if I had been paid weekly for this movie, there would have been an incentive for the people buying it to read it, but there was no incentive currently. So I truly would send it. I would wait three months, not hear anything, email them once a week to just be like, how’s it going, guys?

And then hear nothing back. And that would all sort of be constituted as, like, well, we’re reading it. I was like, no. You’re not. So the amount of time between, like, me delivering a a file to them and the actual payment for the file could be three months, six months, nine months, like the amount of of time that goes by where, like, you’re trying to pay your rent and live your life on this contract And then you’re not being paid for it is just sort of like an unsustainable model here.

Yeah. It’s wild. I mean, look, I’ve done I You know, I’ve done a fair amount of freelance writing in my world and, you know, basically, the way it works in journalism is you write a thing you get for it. Yes. When when either depending depending on how it works, either when it gets published or when you file it, usually when when it gets published.

And that’s fairly straightforward, but it definitely also Unless you are working on a long term magazine thing or something, you you it’s definitely like, you do all the work and then you get paid for it at the end. And then, that’s just kind of that’s just kind of how it how it is. But with I but with the movies, it is it is fascinating to me. Because as you say, I mean, you’re expected. And I I the sense I get from most writers is that they try to they try to live up to this.

You’re expected to finish it in eight to twelve weeks. You have your you have your time frame, you have when it’s due, and and if you do that, you send it in and then nothing.

Truly nothing. The the amount of things I’ve turned in and then heard nothing four weeks is unconscionable. It’s actually a wild thing and it it it both preys on your economic like position in the world. And it also really preys on just everybody’s, like, insecurities about Did I do a good job? Do you like it?

Do you not like it? Am I fired? You know, like, it just it’s like such a discourteous way to do business and it There are currently penalties that the WGA tries to track down for late payment. But I’ve been paid late on everything I’ve ever worked on, and it it’s it’s really hard to track it down over and over and over And it’s just this weird economic model of like, well, we can take advantage of people because most of the time they won’t be able to do anything about it. Some of the time they can, but it’s worth it to most of the time take advantage of them.

And so a big part of the the guild action is just like can we pay writers as they’re working? Wouldn’t that change everything? Wouldn’t that make this like a sustainable career? And wouldn’t that put time pressure on studios to read and respond to material and decide whether or not they’re gonna make it.

And this is one of the things that It was I I believe in the the, you know, the the two sheet that the w g a sent out when the the strike was announced, wasn’t this one of the things that the studios did not counter on or at least the WPA says that they they did not counter on.

This is a refused to counter. And so that going back to your your sort of previous question of where do things stand in the negotiation? You know, I’m not on the committee, but just from the external viewpoint of, well, how do you do a negotiation to receive no counters on half the proposals, means that there’s no place to go. There is no progress on the negotiation. You can’t come back to the table before your your co negotiator has a counter proposal, it that just provides you with zero leverage or incentive to come back.

So everything the guild has asked for is still to ask as far as I know. And it’s just a matter of will or won’t studios respond at all to to you know, I think it’s a third of the asks are just met with did not respond. Yeah. Which is just like not a negotiation.

Yeah. What is the what is the reason for the delay in in getting back to? I mean, I you know, look, the thing about making a movie is that it harden it takes a long time, and I understand that. There are a lot of moving parts that need to be put together. But is it is it just a function of having kind of too much stuff to do?

Or, you know What are what are people doing?

What are people doing is a great question. And the all of this ecosystem works in a little black box where you just don’t know. And I think a big part of what Overall, the guild is asking for here is information. It’s will you tell us how many people watch the stuff will you tell us, you know, within a timely manner whether you’ve read the stuff? Like, it really is just will you provide some information for our members?

I I think that you know, there are a variety of reasons a studio wouldn’t respond. One is do they actually have the money, you know, like a lot of these companies are dealing with co financiers and other investors and additional funding sources. And so you get into this position where you know, they’ve committed to a project that has taken eighteen months. And now do they even have the money to pay for it anymore? Do they to kind of punt you two weeks while they figure out whether they can pay you.

That happens. I think there’s, you know, people who have too much going on their on their plate. I think there’s people who don’t really know how to respond to the material. I I think it’s a weird confluence of things where because there’s no pressure other than the internal pressure, it just is sort of allowed. You know, there’s there’s no disincentive.

So why not take your time and take your time, but there there has to be a limit to the amount of time you take.

I talk, can we talk a little bit about the difference between a bake off and kind of pitching a spec script doing something original Yeah. That you that you’ve done. Because I, you know, one of one of the things I think, again, that, you know, people kind of understand maybe, but don’t necessarily think about a lot, is that, you know, there are a billion spec scripts floating around. I mean, just like people write, and then it it of the time it goes in a drawer somewhere. And I I was wondering from your perspective again as a working screenwriter, kind of how that how those two different processes play out.

Like, you get called in and there are five other groups of writers maybe or five other individual writers, you know, going after the same project versus like here, I have a thing, Paramount. Would you like to make this thing? What, you know, how does that how does that work?

Yeah. I mean, you’re describing the two roads of making a a film, right, from the creative standpoint. There are the projects that are we as a studio have decided there’s some value in this piece of material when we wanna find a way to make it into a movie and that can be a short story or a book or a documentary or an idea somebody at the studio had, and then which are all considered, like, open writing assignments, and that’s a big part of the ecosystem of, you know, writing for features. And then there is sort of the second path, which is like an original spec, and that’s it’s spec based on speculative. Right?

You’re kind of taking a shot at will or won’t this be a thing anybody wants to make? You know, I think that there are, obviously, the merits to doing an assignment is you go in for the job. You have a job interview. It’s a very pro track did job interview, but it is a job interview, and then you do or don’t get the job. It’s very tidy.

It’s it’s bankable in a way that an original piece of material might not be. There’s a yes or a no, and it comes at a certain date even if it’s a long window to figure that out. The spec market is you you write a movie and then you try to find anyone in Hollywood who wants to make it, and it is, you know, rewarding in that you get to do the thing you wanna do, but it means that you’re taking all of the risk inherently on yourself to then retain some control over the material. So I wrote in the blink of an eye in twenty fifteen. It was on the blacklist in twenty sixteen.

I spent twenty seventeen meeting producers who all couldn’t figure out either how to make it for the budget it needed or who the director should be how to fit it within their slates. I spent two years with a producer kind of on a handshake deal trying to find a director and try to find an act and try to find money, and none of that ever came to fruition. You know, it all sort of falls apart in different iterations. And met Andrew Stanton who came on to direct it in twenty twenty. We spent a couple years trying to find someone who would produce it or pay for it, and we convinced searchlight to do it in twenty twenty two and they shot it in twenty twenty three.

So it took about seven years. So there is a path to doing speculative work, but it is generally very long and arduous and all of the onus of trying to be a producer ends up falling on the writer or the writer’s reps or the producer that the writer can find because there is no infrastructure. It’s just you trying to find partners. Yeah. And I think that seven years found sounds very daunting, but it also is sort of like the average for an original piece of material takes you know, a very fast movie is five years.

So again, when you’re talking about, like, equity and inclusion, the ability to spend seven years hoping you get paid. Is is sort of a nonstarter for most people. Right? Like that only comes with immense privilege to be able to say, well, I’m gonna try to get this done for a decade and hope it pays off. And so in the meantime, you are cobbling together either a huge catalog of specs that you’re trying to puzzle together all the time or additionally writing assignments that at least come with you will get paid.

You know, you don’t have any control, but you will get paid. So it’s it’s cabling those two streams together as far as revenue and, you know, no movie is easy to make. So it it really is how How quickly and and how frequently do you need to get paid for your work?

Yeah. Well, everybody everybody likes to get paid. Everybody needs money.

You have to get paid eventually, you know.

Everybody needs money. That’s why they call it money. Alright. How how is the mood on out in in LA on the the picket have you been on the have you been hitting the picket lines? Who’ve been carrying the

I weirdly was finishing the movie right as the strike began, so I turned in my work on May first and had to say, okay, good luck with the remaining ten days of the film. I hope it doesn’t screwed up and have been out of out of town. And so I just landed back in town, and I’m excited to hit streets and hit the pickets. I’ll probably be there later this afternoon. But it you know, I think the mood is in Hollywood overall is righteous anger.

You know? Like, I I think that this is sort of a negotiation that’s been a long time coming. I think that it’s one that that Coder would have come in twenty twenty had there not been a pandemic. And I think that there’s sort of an overwhelming sense between members of different unions that, oh, we’re kind of all asking for the same things, which is just can we have a sustainable future in this business at all? And it really feels like if if things don’t shake out in favor of workers, this is sort of a make or break negotiation for writers, but also actors, also directors, also anyone who’s in any of the unions, like it it feels there feels like there’s an immense amount of solidarity in a way that, you know, previous strikes and negotiations have not felt like this to me.

Yeah. No, it’s it’s it’s I’ll just say that it’s fascinating to watch from the outside because It’s it’s been a while since we’ve had one of these, and it’s It feels different. It it feels it feels different even than the two thousand seven two thousand eight strike.

I think there are there are two big differences. One is, you know, we two thousand seven two thousand eight was dawn of social media so you just weren’t seeing what it was like to be picketing. You weren’t seeing what it was like to be a writer or somebody actually on strike. And I think the other difference is just we are in a time period where I really think that this struggle of workers is a universally understood struggle at the moment. I think the stratification of CEOs compared to people working jobs has gotten so extreme that there is kind of just a fundamental understanding amongst workers everywhere that this is not sustainable.

And and I think that that feels kind of powerful and cool to me of, like, Oh, despite everybody being in different industries, anybody I talked to about this is like, yep. That makes sense. You guys should get paid. You make the stuff. And that’s that’s an interesting moment within, I think, like, the overall labor movement.

You know?

Yeah. I always like to close these interviews asking if there’s anything I should have asked if there’s anything you think folks should know about, you know, the the work before the work or anything else with regard to screenwriting. I don’t know. Hollywood, how things are.

Wow. You know, I think in terms of the work before the work, it it it’s very easy from outside or from the early days of of working within the industry to to kind of assume that once you get a job, you’re in or once you’re working, you’re working, and you’re doing great. And it it is really a a shock to the system to realize that the amount of effort doesn’t ever change the amount of work you have to do to, like, convince someone hey, hire me. Remains constant, and it’s it’s an industry in which It can seem very glamorous from afar, but the day to day work of it is very isolated and, like, kind of tedious. So, you know, we’re not all ivory tower writers over here.

We’re all kind of just trying to like altogether twenty five movies so that two happen. And that’s such a it’s crazy that that is so privileged. And also crazy that it is so difficult even when you are in. What’s essentially the major leagues, you know, you have to look at the writers guild as being like the equivalent of the NFL or Major League, it’s like the top five thousand players doing it, and those players are struggling to survive. And that’s a kind of wild thing when you look at it that way.

Yeah. No. It is a wild time. Alright. Call me thank you for reading on the show today.

I really appreciate it. Again, You you’ve got you got a couple movies coming out. Do do we have dates or anything on space man or

No dates. Space man will be later this year’s probably fall twenty twenty three on Netflix. It’s directed by Johan Rank who did Chernobyl. It’s got Adam Sandler in space. You know?

What more could you want?

That is gonna be I mean, Adam Sandler in space, I will. I’m

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I love I love I love me some Adam Sandler. Alright. That’s great. My name is Sunny Bunch.

I am culture editor at

the Bulwark, and we will be back next week with another episode. We’ll see you guys in.

You love La la Kent on Vanderbilt Pump rules. Now get to know her on Give them La la.

With her assistant, Jeff.

What you did not see is when Raquel arrives and she wants to talk to me. I made her sit in a corner. Explain. A corner booth all by herself in the dark. Waiting for to talk

to you.

Waiting for me to finish Dancy to fifty cent. It’s say, spin the corner. Give them la la, wherever you listen.