I knew about the singing from the reviews of the Goblin MacBeth, because there’s musical improvisations in that live theatre piece.
Bruce Horak’s family seems to all be creatives.
I recall an interview from 2022 where he talked about being the youngest of 4 very competitive boys, with older brothers who are musicians. I believe his dad was a high school drama teacher(?), and an amateur cartoonist. Mum also in a creative field.
The painting / visual arts career is what caught me off guard actually. Horak said his dad encouraged him to make his own comics as a child to write stories. Here’s a piece on his one man show ‘Assassinating Thompson’
$16,000 for the credited writer of a one hour episode of a ‘big budget series’ of $30 million or more seems incredibly low. Most writers get only one or two script credits out of a 10 episode season, and many EPs take shared credit with the junior writers in the room.
And the rates for streaming residuals seem to be based on domestic uptake in the first 3 months, ignoring ‘sleepers’ and shows that sell well globally. All to say, this doesn’t get around the ‘Suits’ problem.
Yes, the writers get a base pay for being in the room, but it’s still not a lot out of a major property.
Who can live in LA on a couple of script credits a year?
I think this is a misread. Management is getting the blame in this article for making everyone worse off including themselves.
The unions aren’t being blamed at all in this for the strike. If anything their commitment is credited with bringing AMPTP back to the table early.
The article links back to earlier reports from May that AMPTP had a deliberate union-breaking strategy, and planned to refuse to negotiate or to come to the table before late October.
It’s not anti union to point out how management bad faith behaviour and refusal to negotiate is negative for an industry and the broader economy that surrounds it.
Strikes are a blunt and costly tool, but an essential tool. When they last for months as this one has, and one party has been refusing to negotiate on many terms for even months before the strike, everyone in the industry suffers. One of the key points in this article is that AMPTP has managed to lose the PR war of this strike, as they very much deserved.
CNN has been consistently reporting on how the AMPTP has been refusing to bargain, and it’s in this context that it’s weighing the costs of the strike. In comparison to the Hollywood-based media that are owned by the content conglomerates (e.g., Deadline) this is much more neutral reporting.
But sources familiar with the matter told NBC News, Variety, and The Hollywood Reporter on Saturday that one major sticking point was the language surrounding the use of artificial intelligence. According to Variety, those negotiations had largely come down to matters of fine print, signaling that a breakthrough may be close.
But sources familiar with the matter told NBC News, Variety, and The Hollywood Reporter on Saturday that one major sticking point was the language surrounding the use of artificial intelligence. According to Variety, those negotiations had largely come down to matters of fine print, signaling that a breakthrough may be close.
The article mentions that the SAG-AFTRA negotiators and leads have been kept in the brief by WGA.
So, it sounds as though the writers have been conscious of the precedents they’re setting and there shouldn’t be surprises when the negotiations move onto the actors.
The thing is there were great physical models in other shows. It was just Straczynski’s determination to go completely digital that was driving it.
DS9 was made with models because Paramount understood the technology wasn’t there yet. I just wish they’d kept high definition analogue film rather than video.
Better to skip the first season than not watch at all.
I am someone who noped out of the show mid season one during its original broadcast run, despite being really psyched by the pilot, and fortunately gave it a second chance for season two when Boxleitner was brought in.
The first season can be hard to slog through due to the alternating wooden performance / theatre extreme facial expressions of the principal character.
I had really enjoyed the 90 minute pilot (with a different first officer) and was surprised how stiff he was when the first season.
While there’s a lot of important set up in the first season, if it’s too much of a barrier that you’re not watching B5 at all, better to skip ahead to season two.
All the more reason not to perpetuate a question on which the IP owner has a settled position. It wasn’t neutral.
I get that BBC has engaged an expert from the community, but in such a case the expert is under all the greater responsibility to ensure their neutrality. This isn’t presented as an opinion or perspective piece the way it might have been on the official site.
Had they written that there has been a long debate about TAS status, in part due to documentable statements by and those attributed to Roddenberry by his representative (I.e. Richard Arnold), and that there continues to be many fans that have reservations about its canonicity, that would be factual and neutral. This isn’t.