What the Writers Gained By Striking

Welcome back to the Bulwark goes to Hollywood. My name is Sunny Bunch. Culture editor at the Bulwark. And I’m very pleased to be joined today by Elaine Lo. Who is a staff writer at the Anchler, and the author of the Strikegeist newsletter.

Amongst other, you know, duties at the Angler. I I really enjoyed reading strike guys during the recent WGA strikes because it was, you know, on on the ground, on the front lines reporting from the, from the picket lines, and everything else, it was a slightly more tempered, version of what we were hearing on Twitter, which, you know, would tend to get a little heated and crazy sometimes, but it was, it was great to have that firsthand point of view. Elaine, thanks for being on the show today.

Thanks so much for having me. Thanks for being a straight guys reader. It’s been a long, a hundred and forty nine days now.

Well, it’s not over yet. We still got sag after strike, but we’re we’re getting there Alright. So so the WGA deal, is is done ish. It still has to be ratified by the members and and everything, but, you know, we’re we it looks like we’ve got a pretty good deal. People seem be about it.

Mhmm. And and there’s, you know, there’s the standard percent raises and all that sort of stuff. But there there were three big pretty interesting and new things, that got hammered out during this conversation, that I think are worth diving into and worth explaining to folks who didn’t who either didn’t know what was at stake or or or kind of confused by some of, the issues that have come down, and, let’s let’s take a look So the first is writers rooms. Writers rooms were a big, point of contention in the strike. The the, writers wanted more guaranteed spots for, writers on TV shows.

The studio said, no. This is ridiculous. You don’t need that. What what was the deal that was made? And what were what were they fighting over really?

Because I think that’s a I think that’s a key thing for folks to understand. When they’re looking at the these resolution here. What are the what were the writers actually really after?

I mean, it all comes down to the sustainability of the profession. Right? Like, time and again when I was out on the picket lines, and even well before the strike, the thing that I would hear from writers is it’s hard for writing, for TV writing, or film writing, to be a sustainable profession anymore. I mean, and you sort of add on top of that, the the cost of living in a city like LA or New York. You know, that has additional challenges.

But you the main disruptor has been the streaming economy. Because before, What? Like a a broadcast sitcom would go twenty two, twenty four episodes on CBS or NBC or ABC, and and you could make a whole meal of that. That was part of your career. That was a year long job.

Nowadays are so many streaming shows. I mean, we live in the era of peak TV where there are literally what, like, I think six hundred shows six hundred new scripted shows this past year. But how many of those are straw, small streaming shows that are like six, eight, ten episodes? And so I’d hear from folks that say, you know, well, I would do a six episode series, and then it would be months and months between work. And these rooms too, these writer’s rooms would get smaller and smaller instead of having you know, whatever ten, fifteen writers in a room, there’s something, that the writers hate called mini rooms, which is, you know, the studios would try and get two or three writers of room to, like, break open a whole season.

And and and essentially, it’s the same labor issue that impacts so many other industries. Right? It’s that companies try to get more out of folks for less. And I think that’s something that, you know, no or what industry you’re in, I think it’s just sort of a recurring pressure. And that’s the thing that writers felt, all across town, all across the country.

And and so the staffing minimums was really a way to try and codify, you know, that part of the profession. To to to make sure that writing is still a full time job in their view.

And, and there and there are, like, again, actual codified numbers here. What were the what were the gains that the, the writers got?

Yeah. So the writers were initially looking for, I think a minimum staff of about six writers, and what they ultimately Well, what they initially were told, according to the guild is that the AMPDP, which is the negotiating unit, which represents studios from Disney to Netflix, you know, rejected those proposals, didn’t make a counter. Ultimately, between May and September, what the agreement ultimately was was that, there would be a minimum of three writers. And let me make sure I have this right. It’s at least three writers on a series of six episodes or fewer, five writers on shows that are seven to twelve episodes, and least six writers on shows that are at least thirteen episodes long.

So, you know, they they went a long way to getting some kind of codification of that.

And there was I I during the strike, there was some chatter, among show runners, some of the some of whom write whole seasons by themselves. Right? So guys like Taylor Sheridan said, well, I don’t need six riders on Yellowstone. I do it all myself. Or white lotus, right, as another show that is run, by a guy who writes it all, and that and that’s and that’s it.

And they said, well, we don’t need writers’ rooms. We don’t want writers’ rooms. You know, why are we fighting about this? Why are we fighting for this? And the counter to that, which I think is is true Ron DeSantis that, you know, the first time show runners are not going to have the leverage to say, Well, I would like to have six writers on my show.

You know, they’re gonna be pressured to to go the Sheridan route. Right? Was I mean, that was, like, the kind of down. Right?

Yeah. Yeah. I mean, you know, we had, Adam Conover who, you know, he ran the show Adam ruins everything and, is also a WG negotiating committee member on on own podcast yesterday, and he broke it down for us. He, you know, told us, like, hey, like, as a showrunner, as a first time showrunner, I didn’t have that power. I didn’t have wasn’t given a budget.

I was just told here, you can hire x number of writers. And that’s frequently and I think there’s sort of a little bit discrepancy too. Like, when I think folks outside of the industry are looking in, because when you think of like a show writer, maybe you’re thinking of like Orion Murphy or a Shonda Rimes, people who have you know, had really prolific careers who have reached a point in their career where there’s a a great deal of creative control. But a lot of folks are first time show runners and you know, feel that they have to be able to accommodate, their bosses, which, I mean, I think again, is is true of any kind of industry when you’re, you know, even sort of slowly coming into a position where there’s more decision making power. And and and so, you know, that’s why these this sort of codification exists, but I I think there is also So, built in, Adam was telling us yesterday an exemption for, I think it’s if there is a contract that says, This person is going to write all eight episodes, then they’ll be able to do that.

So there is still, exemption four or the Taylor sheridan’s for the folks who wanna be the sole, creator.

Yeah. And they’re and I think some of those shows are getting grandfathered too. Right?

Like, it’s,

you know, if they’re, if they were already one one man shows in Soviet. Alright. The the the next big issue here that is that is pretty interesting is the performance based residuals on the streaming originals. I I I was getting questions from friends who were asking me to break it down for them. And frankly, I didn’t know the answer to a few of them.

So I’m I’m hoping you might be able to help me out here and make

sure that everybody

knows. Alright. So, alright. So, for instance, there there is a there’s a, alright, just a set stage for everybody. There’s a threshold if if a show is watched by, I think it’s twenty percent or more of the, the subscribers over the first three months of release, or, I guess, over any subsequent three months, that there will be a bonus for let me see.

What are the numbers here?

The lowest would be Fifty percent of the fixed domestic and foreign residuals. So, you know, the bonus, fluency, in in the twenty twenty three year would be, like, about over nine thousand dollars for a half hour episode about sixteen thousand dollars for a one hour episode. And then, over forty thousand for a streaming feature, that’s over thirty million dollars in budget.

Okay.

And this is really, you know, my understanding is the the viewership based streaming residual is something to counter the fact that streaming residuals compared to residuals for a broadcast TV show. Again, it’s like, it’s the difference between that big twenty two twenty four episode CBS sitcom versus the, you know, like six episode Netflix limited series or something, where writers would tell me, you know, I used to be able I’ve had so many writers tell me I used to be able to live off of residuals, and now it’s impossible. And I’m doing the same amount of work. It’s just that the residuals are lower. So the viewership based residual is is designed to to sort of offer a success based bonus.

You know, like, because again, I think we’ve also read media reports of huge streaming hits where maybe we don’t realize you know, just how how how much of a difference in compensation there is from the expectation, for for writers in cast.

Will Saletan me ask. Alright. So, specifically, the question I had was, right? So writers, writers will see receive a bonus you know, between nine thousand and sixteen thousand or something like that for TV episodes. Is it is it the credited writer on an episode of TV.

Like, every credit they get, they will get a bonus like that because I I

Or is it like the whole room, you mean?

Right. Is it is it like, does the whole room get the nine thousand dollar bonus and then it’s split three ways or five ways or whatever per episode? I mean, I guess I guess that would be my my My question here is exactly how that payout happens. If it goes to the credited writer or and also, like, again, specifically we’re talking they’re the the way it’s broken down in the the contract is by episodes, but my understanding is that the streamers just kind of get the numbers for the whole season. It’s like we have here’s here’s this first season of, you know, Wednesday or whatever.

Yeah.

Or, squid games, like, but it I I don’t think they’re broken down necessarily by episode.

Right. May

I I don’t maybe this is something we still need to figure out.

I was gonna say, I think I think this is something I can’t tell you. I’m not gonna pretend to know. All I have is the language in the contract and what Adam was telling us yesterday. So I don’t I don’t think we know all the details of that but you also alluded to something else, which was the the the data transparency part of it, right, which Yes. The writers, you know, got some of of what they were asking for.

I think it was that there’s the streamers will release, I think, sort of the total number of hours watched, which, you know, still doesn’t provide you the kind of data that I think they have internally where they’re able they’re able to obviously to, like, they have a fire hose of data. They’re able to slice and dice it any which way they want but it’s it’s something. It’s a step in that direction. And again, talking to Adam yesterday, he saw it as a positive development because I think the idea is to then build on that progress in subsequent contracts. Because when I talk to show runners, one of their issues when writing for streaming shows is sometimes depending on which streamer and every streamer is different, every streamer counts a view differently, and every streamer releases different segments of information to their show runners.

So it’s like some of them may get engagement, metrics. Some of them may get feel like they get nothing at all. Some of them have told me, oh, they wouldn’t give me exact viewership data, but they showed me how my show performed in comparison to a different popular show on the service. So, you know, this is sort of a step, toward figuring out in in in lieu of sort of the old fashioned, like, broadcast Nielsen data, you know, how things are doing.

Yeah. Yeah. No. I I am I I am curious to see how much of that data actually comes out and and what we see. And and I I believe there was some agreement between the union and the ampTP that the data would be kept confidential ish.

Right? I mean, I

Yeah. That was one of the initial things. And that one, like I said, I’d go and refer to the contract too. I I I honestly, like, I think we’re all still sort of digesting the the contract terms here. And I and I and I’m expecting that things will slowly be spelled out for us as they’re actually implemented.

Yeah. Yeah. I know it’s, it’s it’s crazy. And I I’m also I mean, I I have you heard from any of the folks on the actor side how they they feel about this? Cause this is a big ask for them as well.

They are they’re looking for you know, some something like, I think it was two percent of revenue from streamers for, a success based, residual, that’s

and that’s like sort of a different ask, but, you know, I I’ll be very interested to see how much of a precedent and how much of I guess an advantage this gives, sag aftra as they were going into their negotiations, which restart on Monday on the second. Wait, Monday is the second. Right? It starts on it starts in early October. Yeah.

It’s coming up here.

Yeah. No. It’s been a long four and a half months. But but it’s like, you know, with with AI protections, right? It’s like they are also looking for AI protections, and they’re also looking for some kind of, like, sort of similar success based revenue shares slash residual.

Basically, a a a participation in that profit. Right? But the language is going to be something different because, you know, writers are are dealing with, say, AI in in terms of the written word and than seg after us dealing with AI and in terms of, like, performance capture and, you know, scanning background actors. So it’s, like, same concept but the implementation and the of that, I think, is gonna be really, different. But yeah, I think it I think it sets something something of like a broad philosophical template if nothing else.

Well, let’s talk about AI because AI is the other is the third of the big, new things. I mean, how how What what agreement did the studios and the writers come to on how AI can be used, you know, as a tool versus, as a replacement. Because I know that’s what the writers were worried about.

Yeah. I mean, I wanna say first off, I personally, and maybe this was just naive of me. I was really surprised at how much of an issue AI became on the picket lines. Given that going in, it’s not something that I traditionally heard, writers have an issue with. But I think it really came to the fore.

And I mean, it’s such a fast moving technology. Like, I’ll tell you I’ve I’ve seen and heard, like, AI software, and this is more on the performer side, but it can, like, replicate Morgan Freeman’s voice. So it makes Morgan freeman sound like he’s speaking fluent Spanish as opposed to like having another actor dub over. So it’s like the technology is there in many different ways. But I was really surprised to see how how many people had, like, AI related picket signs.

But I guess that’s also a factor of of of just it’s sort of being like an easily digestible concept, outside of Hollywood as well. But essentially what the writers agreed upon was that, AI can’t write or rewrite rewrite for them. It can’t produce source material. And studios can’t force writers essentially to use AI software like chat, GPT or something. Although if both the studio and the writer decide together to use, you know, AI software.

They can do that. And then there’s also a last bit on on training data, which, again, talking to Adam Conover yesterday, he said it’s basically the site of a future battle because the guild know, quote unquote reserves the right to assert that exploitation of Raiders’s material to train AI is prohibited by this minimum basic agreement or other law, which, I mean, is sort of like, I was trying to unpack that language a little bit yesterday, and I I think basically it’s just sort of like setting the tone for you know, we have the right to challenge this if we feel like there’s, exploitative training with my sense.

Yeah. Listening listening to him yesterday on your on your podcast. The what what it sounded like to me was If you do this wrong, we’re going to sue you. Yeah. That that that kind of that that kind of language, which is always, you know, that that is not necessarily ideal if you’re in a labor situation.

You don’t wanna be like, we’re gonna have to, you know, get the get the courts on you. But it it’s it is a fascinating a fascinating topic. For the reason you mentioned, I mean, you know, the the actors are worried about people putting their faces on weird things in in movies. And, you know, I think for good reason. And the writers, you know, it’s interesting talking to the writers because half of them are like that the AI is never gonna be good enough to do what do.

And the other half are like, terminator is here, and we have to we have to send John Connor back to kill chatty PT now. Like, it’s, you know, It’s wild.

Yeah. I and and I I think the truth is basically, as with all emerging technology, like, ultimately, we’ll have to find a way to live with it. Right? It’s like it’s AI isn’t going anywhere. AI is already used in so many different parts of the business.

I mean, gosh, it’s like, even even outside of Hollywood, it’s like, I see AI creeping up. And I’ve I’ve said this before, and this is so boring, but, like, you know, back when I used to be, a stock market reporter writing earnings reports, at some point, there was automated writing technology. There was an that was introduced that could just pluck like, oh, did they beat on earnings? Did they miss on earnings? And being a very young twenty something reporter at the time, I was like, no.

That’s my whole job. Like, this thing could be this thing’s gonna replace me, but but also, you know, it didn’t because there’s still the human element where it’s like, you can add context to things. You can react in ways that the AI can’t. Like, it’s what it’s doing is it’s it’s feasting on the available information, but there are many, many human elements, which I think will it’ll it’ll so there’s a long way to go before it can replicate those. I mean, of course, I say this now and watch tomorrow AIs writing my strike guys newsletter.

The the AI podcast is gonna be great. The, the well, and and the the it’s funny you mentioned that digesting the news because, like, you know, one of the things that we’re seeing with the the language models is when they start scraping the web for everything, these models all get much dumber because there’s so much bad information out there. I mean, there’s just there’s just endless reams of bad information, which, in turn, like, makes me think of the writers a little bit because there are a lot of bad scripts out there as well. And if you just throw

You throw the kitchen sink at it. Yeah.

You throw the you throw a million scripts in there. You know, nine hundred ninety nine thousand of them are bad already. So, like, is that the the sort of thing that you’re you’re gonna want to come out. I don’t know. It’s it’s interesting.

Alright. So let’s let’s just quickly, what else what else came out of the the strike. What else did the writers get? What else did the the studios get? What are we what are we looking at?

Of the

Well, you know, the guilt tout of this as a quote, unquote exceptional deal, which I think, like, set the bar really high, because such a protracted battle. But but, you know, the thing that they said was we really got wins for every segment of the membership, and I mean, it seems like they got a great deal of what they were asking for. There were things for, you know, screen writers for film writers, basically, second payments, improve payment schedules. And then for writing teams, like, you know, TV writers who work in pairs, you know, are able to get, pension and health contributions that sort of represent, like, like, that match each writer as a whole person rather than making them like split a fee, which is huge in terms of, you know, qualifying for health insurance and everything. So there were some significant things which are not, I think, like, big, bold headline to to folks who work outside of the industry, but to folks here are are are really significant increases.

You know, obviously they didn’t everything they were asking for, but that’s the nature of any negotiation. And my sense is though that, the wins that the writers give got were far more than I think folks were initially thinking they would achieve back in May. There was a lot of skepticism about whether the strike would work, about whether having a strike that ran this long would be effective. And I think the result speaks for itself.

Well, let’s so let’s bring this to the the other thing I really wanted to talk to you about was, how It it it this strike felt different from the last strike in back in o seven zero eight. This this felt like a much different The vibe was different. The vibe was different. And I I’m curious how, how the mood on, both the picket lines and on social media kind of influence that because I I really I really do think that we, saw a real sea change here. And how the writers, behaved and reacted and supported each other, in part because of just the the kind of omnipresent, ever, ever awake, ever aware nature of Twitter.

Yeah. And, you know, TikTok and whatever else. But, like, really Twitter, it’s where the right

it’s where writers hang out. Twitter, where that we all many thought we would abandon in the spring and, then suddenly became the place to be. Yeah. Yeah. Yeah.

I mean, listen, there was no there was no similar thing in o seven, o eight by all accounts when I talked to folks. They tell me when I’ve spoken to people who are veterans of you know, two, three different strikes. They’re saying, okay, last time around, all the information we were getting were from the trades. We had to sort of just accept whatever information was coming to us, and we had to, you know, fact check things by word-of-mouth or or share information by word-of-mouth. And now there’s a much more immediate way to do that.

And of course, like, Let’s also accept that there’s some bad information that goes right on any social media platform. It’s not all accurate, but it definitely allowed them to talk to each other in a way that I don’t think they they had the last time around. And also just sort of build on that voice. I mean, when you’re talking about solidarity, And when you’re talking about social media, I think there’s the question, right, of like, yeah, but like how reflective of real life is Twitter, which is valid question because it’s a self selected group. Right?

But, but there were there were so many writers who were just, I think, building on each other’s voices there, that that it really did genuinely contribute to that sense of solidarity and also contributed to their ability to to organize, like, when you’re talking about them, the writers turned labor organizers these last few months. That became a real tool too in terms of saying, like, This is the themed picket we’re doing down at Netflix today. And, like, this is what we would like to see turn out for it. It became a very effective organizing tool, which I think was was was a very effective, like real world implementation of social media. And then when you’re talking about solidarity, So sort of a thing that I think I think people were grappling with at the beginning was, like, How seriously do we take a bunch of writers and then actors who are on strike?

Right? Like, are they serious people? And And ultimately, you know, I I I think they really showed that they were serious about organizing. They got a of support from from Ayati, which represents, you know, like a hundred and fifty thousand craftspeople and crew members. And from the teamsters who really showed up and showed out, And again, talking to veterans of the last strike, my impression, I didn’t cover the last strike, but my impression was that they felt sometimes more alone.

The writers felt a little bit alone in o seven, o eight and didn’t necessarily feel that cross union as as, you know, as deep of an extent of that cross union solidarity that they feel now. So that really bolstered them. And then, of course, when the SAG after a strike started having a hundred and sixty thousand performers, also on the picket lines is is really gonna help you fortify your cause.

Yeah. The the the one the one place where I feel like you saw solidarity kick in most, effectively really came toward the end when Drew Barry Moore said she’s bringing her show back and Bill Mars, like, the talk is coming back. And I I look, maybe I’m wrong. Maybe I’m misreading things again because I spend most of my time on Twitter instead of, you know, on on the lines. But the The sense I got was that the ability to pressure those shows into pulling out and shutting back down again and saying, we’re gonna come back afterwards.

Felt it felt like the push that was needed that the studios needed to really be like, okay, this is serious. We gotta end this. I mean, like, that that was a that it it it felt very conspicuous, and maybe this was gonna happen anyway. Mhmm. But it felt very conspicuous to to have like, a week later, you know, the CEOs in the room with the WGA.

Right. Yeah. I I think that’s think that’s fair. And I hadn’t really thought about it that way, but yeah, I think that’s fair because I, you know, you had speaking of productions that were shut down throughout the summer any kind of production, even before the saying after strike started, you had writers picketing, you know, in New York and in LA and shutting down most every production that they could to the point where I would get these weekly updates from film LA, which is, the LA County’s official film office. And, you know, that number kept dwindling down until it was like there are no scripted TV series that have permits to film this week, and it was just that flat line for many, many months.

And that didn’t include, you know, like, reality and, like, indie shows and things like that. But, but yeah, like, any anything Union had been shut down. And and so again, this comes back to the writers being very effective at organizing and being very effective at at at sort of, you know, deciding on a target and saying, okay, this is the production we’re going to pick it, and this is the one that we’re going to, you know, shut down today. And and, you know, the teamsters respected and didn’t cross picket lines, Ayasi. And so when it came to the talk shows, we were already what, like, in in fall, like, in the beginning of September, where the pressure was on.

Right? And I’ve talked about this before, and and, you know, sorry to sound like a broken if anyone’s heard me say this before, but, like, Labor Day weekend was really an inflection point, I think. Because there was the idea that, like, it’s a summer strike. Like, it’ll be over. We’ll have figured everything out by September.

And then Labor Day rolled around, and that didn’t happen. And I think people got a little nervous and anxiety levels really started rising. And and then you started hearing things from the studio side of, you know, well, if if writer’s rooms don’t go back in by, like, October know, we can’t go back into production until at least January, because everybody knows November and December are dead zones in Hollywood, and there’s just not a lot of production or anything else going on then. And so I think people were really looking out at the calendar and saying, okay. We we really only have, like, what, like, six to eight weeks or something after Labor Day to figure everything out and to try and, like, get the Hollywood machine back in gear.

So, yeah, there there was like a heightened sense of anxiety too. And, you know, that’s not to say that the writers weren’t feeling the pressure. Like, I’ve heard from so many writer and actors and crew people who have have suffered an immense financial hardship over these last few months. And many of them support the strike. Many of them also note just how difficult it’s been to the point where Some of them are we’re talking about leaving LA.

You know, we’re talking about trying to scrape, you know, side hustles together, trying to figure out what work they could do in the interim because they just did know when when the town was going to be back in business. But, yeah, I mean, I think shutting down the talk shows or at least, you know, applying enough pressure on the talk show hosts to walk back, restarting production. You know, was a sign that they were they still continued to be very serious and and not just about, you know, scripted TV, but about these talk shows, which, you know, each of them had, you know, a handful maybe like one to three WGA writers, because these were all, you know, mostly WGA signatory shows, which meant that the the hosts as a sec after members were able to you know, sort of within their right go back into production, but the the writers were on strike.

Yeah. Yeah. No. It’s It’s interesting. So, alright.

We still have one strike, goes on. As we mentioned sag, aftra, and AMPT, getting back in the room on Monday. October second. What what is the what’s the vibe like in terms of where that that strike is? Do we do do folks think that we’re that that will get wrapped up pretty quickly here, and you’ll get production back back in the swing of things in November, December, or or is is the are this two sides still too far apart?

I think that’s the hope, right, that they’ll be able to resolve this quickly enough. I mean, I the two sides haven’t spoken in months, so it’s hard to say where they’ll be once they get back into the room. But I, I think it would be safe to say that Zach Aftra is likely feeling you know, a little more confidence going in given the gains that the writers managed to achieve. You know, the writers have largely been a hugely celebratory mood. You know, I went I went and visited a couple of the bars where these impromptu spontaneous celebrations were happening.

Sound night after it was announced that there was a deal. Like, we hadn’t even seen what the deal was, but it was like, there’s a deal. And, like, people immediately just, like, flooded this one bar in North Hollywood, and I stopped by, and you know, there’s just a sea of writers, with drinks in hand. Occasionally, you just hear random cheers go up in different parts of the crowd. Like, they were just happy that there was a deal.

And they trusted that the guild when the guild said it was exceptional, they were basically like, yeah. We we trust that it is, even though it was would be another two days before they actually saw the deal language. So, I mean, I think that probably gives SAG a lot of, you know, confidence.

Yeah. Alright. Well, that was everything I wanted to ask. What do you think folks should know about either the deal or the strike or anything else going on in, the business Hollywood right now? I always like close these interviews by asking what I should have asked.

So what what should have I? What should I have asked what do people need to know?

Oh, I think I’ve blathered on long enough, but but, mean, there’s still a hundred and sixty thousand people out on strike. Right? I mean, I think I don’t know. There’s there’s this huge exhale of relief that the writers guild strike is is over and that there’s a deal that, you know, the writers seem happy with and and are, you know, they’re technically they were technically back to work yesterday. The strike ended at midnight on Tuesday night, but yeah, there’s still a hundred and sixty thousand people on strike, and and, I think the conventional wisdom is that it should hopefully wrap up soon, but you never know.

Yeah. Alright. So strike guys continues. Go sign up. It’s free.

It’s at the Anchler. And you should sign up for everything at the Anchler too. Be a paying subscriber as I am.

Yay.

But, but if you if you aren’t and you just wanna taste strikegeist is is still free. Right? It is. Yeah. It’s it’s yep.

It’s

It is still free. And, and while sag after negotiating their TV theatrical contract. They’ve also authorized a video game strike. So who’s to say if strike guys will have more to write about after?

The rolling strikes of twenty twenty three. We’re

in a real labor movement here.

Alright. Alright. My name is Sunny Bunch. I am Culture Editor. At the Bork.

Thanks again for joining us, Elaine from, the Anchler really, really great

talking to you.

I will be back next week with another episode of the Bull Worth Coast of Hollywood. We’ll see you guys in.