#Donna Langley

[davidaugust]

So the AMPTP companies are all now permanently shutting down right? I mean the CEOs, Zaslav, Donna, Ted and Bob said it was their “last, best and final offer,” so I guess there’s gonna be no film and TV business, right? Or are these four CEO chuckleheads lying sacks of waste and they must now confess that SAG-AFTRA in fact decides what is last, final and best?

The shareholders ought to throw the CEOs out head first, every one of them.

#ActorsStrike #SAGAFTRAstrike #SAGAFTRAstrong #UnionStrong #union #u1

[denimbex1986]

'Given the number of high-wattage films garnering multiple nominations at the BAFTAs this year, the rationing of awards was always likely unpredictable on the night. And so it proved, meaning that The Zone of Interest and Poor Things had already nibbled away at Oppenheimer’s chances of a decent sweep before the Best Director award came round. With Poor Things director Yorgo Lanthimos inexplicably left out of the race, a category snub this year for Christopher Nolan would absolutely have sent a signal to the British-American director.

Luckily, the fates were smiling, and Nolan finally got his hands on that BAFTA. By any metric, a win is a long time overdue for this artist, whose films attracted a cult audience out of the gate and who then swiftly monetized that formula — smart, character-based genre pieces — for the mainstream. But for a crew craft awards and an acting award for the late Heath Ledger, BAFTA largely ignored his Batman trilogy and even The Prestige (2006), the cerebral sci-fi he made in between.

Since Inception (2010) and Dunkirk (2017), and with the notable exception of Interstellar (2014), Nolan has twice garnered the three crucial nominations in his field — Best Film, Best Director and Best Screenplay — to no avail. The recent award of a BFI Followship almost seemed like a brave effort to correct that oversight, and sent a slightly worrying signal that, even with 13 nominations for Oppenheimer, he might yet go home empty-handed.

Nolan turned a blind eye to all this baggage and accepted his award graciously — unlike his long-term colleague Michael Caine, who famously brought up his years “out in the cold” at the 2000 ceremony — and reminisced about being taken to the Royal Festival Hall by his parents as a child “to make me have some culture”.

As well as his cast and crew, Nolan thanked Universal’s Donna Langley for “letting us or take on something quite dark and seeing the potential in that”.

“And on that note,” he continued, “I do just want to say that our film ends on a dramatically necessary note of despair. But in the real world, there are all kinds of individuals and organizations who have fought long and hard to reduce the number of nuclear weapons in the world. And since 1967, they’ve done it by almost 90%. Of late, that’s since gone the wrong way. And so in accepting this award, I do just want to acknowledge their efforts and point out that they show the necessity and the potential of efforts for peace.”'

[cinemedios]

Los Mejores Momentos de la Edición 81 de los Golden Globe

Ya hablamos de moda en los Golden Globe, enlistamos los 10 mejores looks de la alfombra roja, pero ahora es momento de pasar a la ceremonia, la cuál tuvo casi un 50% más audiencia que el año pasado, y no es para menos, pues esta edición de los premios tuvo de todo, desde momentos emocionales hasta tensos, pasando por romances y uno que otro chisme. Acompáñanos a descubrir todas las sorpresas que nos trajo la ceremonia 81 de los Golden Globe.

Ya hablamos de moda en los Golden Globe, enlistamos los 10 mejores looks de la alfombra roja, pero ahora es momento de pasar a la ceremonia, la cuál tuvo casi un 50% más audiencia que el año pasado, y no es para menos, pues esta edición de los premios tuvo de todo, desde momentos emocionales hasta tensos, pasando por romances y uno que otro chisme. Acompáñanos a descubrir todas las sorpresas que…

[alltrekvarnews]

SAG-AFTRA y los Estudios Volverán a las Conversaciones el Martes....

[candescentclitoria]

AHHHH IVE LITERALLY BEEN DEALING WITH WRITERS BLOCK FOR SO LONG AND NOW THAT I HAVE TIME TO WRITE?? WHY AM I NOT FORCING MYSELF TO? PROMPTS EXIST FOR A REASON

[coffeeinkblog]

#BookReview #AnalyzingThePrescotts by Donna Reno Langley #womenonwriting

Description from GoodReads: Every member of the Prescott family struggles with identity issues when the father, Hailey Prescott, leaves the family to live life as a woman, sending them all tumbling into emotions so violent they threaten to tear the family fabric to shreds. When Dr. Cotton Barnes, a happily married psychologist from Raleigh, North Carolina, signs on to treat the family, she is…

[wilwheaton]

“After meaningful conversations, it is clear that the gap between the AMPTP and SAG-AFTRA is too great, and conversations are no longer moving us in a productive direction,” the AMPTP wrote in a press release on Wednesday night. Meanwhile, SAG is calling out Hollywood CEOs—including Netflix’s Ted Sarandos, Disney’s Bob Iger, NBCUniversal’s Donna Langley, and Warner Bros. Discovery’s David Zaslav, who are all present during the talks—for low-balling and using “bullying tactics.” “It is with profound disappointment that we report the industry CEOs have walked away from the bargaining table after refusing to counter the latest offer,” SAG’s TV/Theatrical Negotiating Committee announced on X on Thursday. “We have negotiated with them in good faith, despite the fact that last week, they presented an offer that was, shockingly, worth less than they proposed before the strike began.”

SAG-AFTRA Strike Looks Bleaker Than Ever as Talks Break Down

Oh, look, the same reprehensible billionaires are using the same failed tactics with SAG-AFTRA that they tried with WGA.

Fuck you, David Zaslav, Bob Iger, and your fellow scumbags. You’re nothing without the creative workers who are the heart of the entertainment industry. All we are asking for is reasonable protections so we can earn a living and qualify for health insurance. You want another helipad on your yacht.

As long as it takes. One day longer, one day stronger.

[cleolinda]

“The WGA and AMPTP met for bargaining on Saturday [September 23] and will meet again on Sunday,” the two groups said in a statement.

The big four studio bosses — Warner Bros. Discovery chief David Zaslav, Disney chief Bob Iger, Netflix co-chief Ted Sarandos, and NBCUniversal studio chairman Donna Langley — were no longer in the Sherman Oaks room by Saturday afternoon, one person said, signaling nearly all the major issues had been resolved. The person stressed, while not directly in the room, the studio chiefs remained wholly engaged in the process.

Even should a tentative deal be reached, it would still need to be ratified by rank-and-file members before it could go into effect. And even after that, without an agreement with SAG-AFTRA, which represents about 160,000 actors, an end to the WGA strike by itself wouldn’t do much to resume halted productions.

The article itself notes that Warner Bros. Discovery is CNN’s parent company, but it seems to be factual rather than editorial. I’m kind of skeptical that the AMPTP is actually giving in, but we’ll hear later today (Sunday) how that went.

[sinful-lanterns]

Angie hear me out.....Again-

Lamia as Moreau,just because they're both fishes.But also maybe as Donna too since they have very similar personalities and have like powers to make hallucinations.

But also Hamel makes me feel she could be Donna too, specially with her black swan attire.

Zoya as Hank maybe?They kinda give me the same type of vibe...

Ugh also about Lady Dimitrescu... Langley gives me the same time, dangerous and powerful women....🙏🙏🙏

I dont know who could be Miranda tbh.... Perhaps you can think who could be her? Because i honestly dont have any idea.

- 🎲 anon

LAMIA AS MOREAU IS SO CUTE AND FUNNY AT THE SAME TIME 😭

Moreau is a very sweet soul, but appearance wise he’s…yeah. But Lamia is literally the exact opposite of that. She’s beautiful and angelic looking, yet her personality is just nasty when she’s honest.

I honestly think Eva would make a good Donna due to her ability to make toys come to life and her whole aesthetic, but since I don’t write for Eva because well, she is a child, Hamel is a very cute replacement for Donna. Both very soft-spoken and sweet women who just want to be left alone 🥺 no wonder I love them so much <3

As for who would be Mother Miranda, hmm. I think it would be interesting if Suspect R were Mother Miranda, because I see them as very powerful female mother figures and I simp for Suspect R so much

[lovemewednesdays]

a statement from the wga.

8/22/23

DEAR MEMBERS, After 102 days of being on strike and of AMPTP silence, the companies began to bargain with us on August 11th, presenting us for the first time with a counteroffer. We responded to their counter at the beginning of last week and engaged in further discussions throughout the week. On Monday of this week, we received an invitation to meet with Bob Iger, Donna Langley, Ted Sarandos, David Zaslav, and Carol Lombardini. It was accompanied by a message that it was past time to end this strike and that the companies were finally ready to bargain a deal. We accepted that invitation and, in good faith, met tonight, in hopes that the companies were serious about getting the industry back to work. Instead, on the 113th day of the strike – and while SAG-AFTRA is walking the picket lines by our side – we were met with a lecture about how good their single and only counteroffer was. We explained all the ways in which their counter’s limitations and loopholes and omissions failed to sufficiently protect writers from the existential threats that caused us to strike in the first place. We told them that a strike has a price, and that price is an answer to all – and not just some – of the problems they have created in the business. But this wasn’t a meeting to make a deal. This was a meeting to get us to cave, which is why, not 20 minutes after we left the meeting, the AMPTP released its summary of their proposals. This was the companies’ plan from the beginning – not to bargain, but to jam us. It is their only strategy – to bet that we will turn on each other. Tomorrow we will send a more detailed description of the state of the negotiations. And we will see you all out on the picket lines so that the companies continue to see what labor power looks like. IN SOLIDARITY, WGA NEGOTIATING COMMITTEE

Donate to the Entertainment Community Fund.

[fans4wga]

“This Was A Negotiation For The Future”: Fran Drescher & Duncan Crabtree-Ireland On SAG-AFTRA Deal, AI & Informed Consent + Importance Of CEOs

"'We know that generations from now they’ll be talking about this seminal contract and reaping the benefits of it in the way that we have been for the last 65 years with a contract that was negotiated when Ronald Reagan was in my position,' says SAG-AFTRA president Fran Drescher of the new contract the actors guild made with the studios on Wednesday after 118 days on strike.

Worth more than $1 billion over the next three years, the tentative agreement has an “extraordinary scope” and is full of “unprecedented provisions,” according to SAG-AFTRA. While the fine print won’t be made public until the 160,000-strong guild’s board votes on it Friday, we know the new deal includes increases in minimum rates, a streaming participation bonus, new health and pension caps, diversity guardrails, and hard fought for AI protection provisions.

The recently overwhelmingly reelected Drescher and chief negotiator Duncan Crabtree-Ireland were at the heart of the strike and the talks. “This strike was about people who are trying to make a middle class living, and I think when the whole deal is put out in the public and people have all the different pieces of it, they will see that there is an overall commitment to improving the economic viability of a career as an actor in this business,” Crabtree-Ireland notes.

Frequently attacked and underestimated by the AMPTP and others, both the union president and national director were out on the picket lines day after day as well as in negotiations with the CEOs Gang of Four of Netflix’s Ted Sarandos, Disney’s Bob Iger, NBCUniversal’s Donna Langley and Warner Bros Discovery’s David Zaslav. Back at the bargaining table for the second set of renewed talks starting on October 24, a month after the WGA reached their own tentative agreement with the studios, the duo, SAG-AFTRA’s chief contracts officer Ray Rodriguez and other members of the negotiating committee unanimously approved the deal Wednesday evening. That vote came as the studios had set a 5 pm PT deadline that could have seen everything go back to square one.

Today, Drescher and Crabtree-Ireland spoke with me about getting to that deal, power of the picket lines, role of the Gang of Four and the importance of the new contract for the entire industry. The duo also revealed some of the AI specifics in the new contract and the battles to come.

DEADLINE: What was the turning point that brought this deal together?

FRAN DRESCHER: We got the protections we needed in AI. We got the funds that we needed for the new revenue stream. That was the two biggest outstanding pieces.

The money was in place earlier, it was the protections that we really were holding out for. With AI, things move very fast, and three months is equivalent to a year in how things can change. So, if we didn’t close that up now then you’ll be so far behind you’ll never be able to catch up. It was really important to us, that we got the protections we felt that we absolutely needed to sustain this contract until the next one. I mean, there’s still things that we’re already working on to get for the next contract, but there are so many milestones in this one.

DUNCAN CRABTREE-IRELAND: I would say it’s been a roller coaster since we got back in the room late last month.

DEADLINE: No doubt.

CRABTREE-IRELAND: Yes, and AI has proved to be one of the most challenging topics in this negotiation from the very beginning all the way to the very end. It was on the table Day 1 and it was on the table on Day 118 of the strike.

DEADLINE: So, how did you seal that deal, so to speak?

CRABTREE-IRELAND: It’s clear that the direct engagement of CEOs was essential to reaching the deal. I think that it is also clear that the companies had to push beyond their initial comfort zone to find a path that could actually give us enough assurances that our members could say yes, we’re going to walk forward into this coming couple of years with a feeling that there is sufficient protection against any kind of abuse from the way AI is being implemented.

For me, I think the key moments really had to do with the kind of dialogue that we had directly with the CEOs, and with Carol, and our committee which has just been so strong and so united. That really gave us the power we needed. Outside the room, the other thing I would just add is having the chance to be out on picket lines in our rallies with our members. That was incredibly not only energizing for me and for the committee but also really helped us make sure we were hearing from all facets of our membership.

DEADLINE: How so?

CRABTREE-IRELAND: Because the picket lines are a very democratizing unifying place and members from all walks of life and all aspects of people’s careers, and all types of specialties are all there.

DEADLINE: In this final round of talks, one of the things that came up a lot from the studio side, but also on the picket lines, was the notion that everyone was running out of time. Running out of time to get a TV season and summer slate off the ground. Running out of time to get people back to work. As we reported yesterday, the AMPTP even gave you guys a 5 pm PT deadline Wednesday or they were going to take their ball home. How real was all that to you?

CRABTREE-IRELAND: You know, I took it as an expression of how concerned they were about this timing and that they were really trying to send us a message of the realities of their production environment – that meant that the timing was real for them. I never take a deadline like that as a given because we’re we live in a world of human beings and our committee was working as quickly as we could. So, I personally thought we were going to be ready before that anyway and we were – but, that deadline was what partially drove us. The desire to make sure that that we could make a deal as quickly as possible because of the ongoing harm that that being strike causes to workers. That’s really what drove us.

The other thing, Dominic, that I will say made it possible was the studios coming through with the final pieces in AI. We’ve made it clear to them from the very beginning and it was true all the way along: AI was existential for our members. And if we didn’t have the right protections, we weren’t going to be able to make a deal. So, I think they ultimately believed that, understood that and they did what they had to do to give us those assurances.

Also, people need know that just strike was not about celebrities per se, this strike was about working actors. This strike was about people who are trying to make a middle class living, and I think when the whole deal is put out in the public and people have all the different pieces of it, they will see that there is a overall commitment to improving the economic viability of a career as an actor in this business. And that’s really good for all of us.

DEADLINE: Fran, did you worry with the deadlines the studios were trying to impose, that this could go off the rails?

DRESCHER: Well, I didn’t know what you mean by go off the rails because it was either going to protract the strike or they were going to appreciate the gravity of certain points that really were deal breakers. About AI, I told them that to their faces: This is going to be a deal breaker, I could tell you right now.

DEADLINE: Clearly, they got the message at some point…

DRESCHER: In a negotiation, you don’t ever get everything, that’s understood. But when the opposition in a really appreciates that we are prepared to go longer, that we’re already on strike. We were prepared to go the distance on this. They heard us, so thank God.

DEADLINE: You’ve indicated you’re already thinking about down the line, the next contract. From what I know about this contract, while it is a three-year contract, this seems multigenerational and it plants pillars that are going to be a strong part of a vastly changing industry. Do you see it like that? DRESCHER: Without question? I mean, we said that to ourselves last night when we passed this, without objection, which in itself is a historic triumph. We know that generations from now they’ll be talking about this seminal contract and reaping the benefits of it in the way that we have been for the last 65 years with a contract that was negotiated when Ronald Reagan was in my position.

DEADLINE:I know that we’re going to get more details tomorrow on AI when the board votes, but Duncan can you give us a sense now of what these protections are?

CRABTREE-IRELAND: I will say, I think our proposals are more specific than the ones that you’ve seen in other contracts because our members are experiencing the use of AI right now. This is not something that’s coming down the road. This is something that’s currently happening.

So, we do have very specific protections around the creation and use of digital replicas, including informed consent for any creation and use as well as compensation structures for how people should get paid both for the creation and use of digital replicas.

DEADLINE: How will that work?

CRABTREE-IRELAND: One way is to protect against the use of generative AI to create what we would call synthetic fakes, which are synthetic assets that are created out of potentially multiple actors inputs. Where there’s any kind of recognizable elements of that there will be protection and a right of consent, as well as a right for the union to be notified when they’re created and a right to bargain for compensation.

Really, the theme around all of this Dominic is informed consent and fair compensation

 Also, I do want to just say because I know people have wondered this whole idea about zombie actors. There are now the consent requirements that apply if an actor is deceased. It wasn’t always that way during this negotiation, but where we’ve ended up is the producers will have to seek consent from the heirs or representatives of the estate of a deceased performer to get concerned for ad use of their image like this voice or performance and the creation of a digital replica, unless that consent was explicitly granted informed consent prior to the person’s death. Just with those examples, I think you can see it’s a very robust set of protections. Protections that address all of the areas of concern that we’ve raised in connection with how actors should be treated as the industry moves forward. Because, let’s be honest, nobody’s immune from evolution, and that includes the studios

DRESCHER: Also, part of the caveat of this negotiation is that the guild and the studios have agreed together to meet semi-annually so that we can always stay on the pulse of where technology is going. Because in many ways, we’re going to find ourselves on the same side fighting in Washington for a kind of legislation that protects all of us against piracy, and more.

DEADLINE: To that, on more than one occasion you guts put out stuff publicly about bullying techniques that AMPTP loves to use and has used over the years, and more How did that affect the tone in the room and or the tone in the virtual room sometimes? CRABTREE-IRELAND: You know,  it wasn’t really acknowledged directly in the room. You know, as an openly gay man, I’ve been bullied plenty in my life including as a kid, and what I’ve always found is when you call it out, that takes away some of its power.

DEADLINE: Amen.

CRABTREE-IRELAND: So, to me, if I feel like those kinds of tactics are being used, my first reaction is to just acknowledge it publicly, openly and take away the power that it has as a result. That was our approach. I will also say, I’m not sure everything is as tightly choreographed on the studio side as people would think. There are multiple companies and there are different opinions, even within their group about tactics and strategy and things like that. Even so, in the end, I think it’s important to just really be open and be direct about it. And when we were in our meetings with the CEOs, you know, I didn’t perceive that as was happening there. And nor was that topic specifically ever discussed during those meetings. DEADLINE: One thing that was discussed, as Deadline exclusively reported at the time, was Netflix’s Ted Sarandos saying to guild leaders last weekend, once the studios had presented their so-called last, best and final offer: We didn’t just come towards you. We came all the way to you. What’s was your take on that, was it true? CRABTREE-IRELAND: Well, I mean, I don’t think that’s correct. I think it’s a good rhetorical point and Ted is a very powerful orator and persuader, obviously, but you know, this has been a negotiation.

We started out with an admittedly aggressive side of asks in our initial proposals, and we knew we weren’t going to get everything that we were trying to achieve it just as they knew they weren’t going to get everything that they were trying to achieve. In fact, where this deal has landed. I think it’s very favorable. It’s very successful. For us, it’s groundbreaking, but it’s not everything that was in our initial proposal package, and there are battles that will have to be fought another day.

So, did they come all the way to us? No. Did they come far enough to us to make a deal that provides our members the protections that we that we really need and provides them with a level of respect to this agreement that members can be excited about? Yes, and I do appreciate them ultimately getting there, although I wish it would have happened a lot sooner.

DEADLINE: Of course, but also there was a lot of bitterness, a lot of agendas in this strike, in the negotiations and in the getting there. What do you think, if anything the studios and the AMPTP leadership learned from this half year of strikes?

CRABTREE-IRELAND: One thing I do wish, and I hope that this will take hold in the industry and future cycles of negotiation, which is if there are strikes, it’s not a good strategy to just let everyone sit there. It’s not going to wear us down. It’s just going to cause more harm to the industry and it’s unnecessary. So, hopefully in the future, there won’t be these long periods of time, like the 100 days before the studios went back in with the Writers Guild to restart talks. There shouldn’t be those kinds of time periods of no talking, because the only way to solve these problems is through discussions and negotiations

DRESCHER: As we said all along: One day longer, one day stronger.

DEADLINE: Fran, there were a lot of attacks on you, on your leadership, on your abilities – some of which you have responded to. Some of the attacks were open, many were whispering campaigns. Now, with this contract, do you feel vindicated and what would you say to those who took potshots at you?

DRESCHER: The people that know me were not surprised that I was going to rise to the occasion. Yet, I think that sadly, women in leadership positions often are faced with the lowest hanging fruit ploy, which is to find any way to discredit them. Duncan’s actions in the negotiating room were a non-issue, never discussed. For me, the pendulum swung from being you know, overly aggressive to frivolous to everything in between. But I will tell you, I merely saw that all of that as an opportunity to create a womaqn and girls movement that I can lead and be exactly me, which is what I did.

DEADLINE: It seems there was a lot of underestimating and undermining here…

CRABTREE-IRELAND: I agree. I think they didn’t think they were going to go on strike in the first place.

DRESCHER: I don’t think so either.

CRABTREE-IRELAND: This entire process has been one of the studios opening their eyes to the reality of SAG-AFTRA, its membership and its willingness to do what it takes to make sure that they’re protected.  

We came in with a strike authorization vote that was unprecedented. We then tried really hard to get a negotiated deal without going on strike, including the extension, which was also unprecedented. We did that and then I really think that they believed at the end of that we were stop.

DEADLINE: But you didn’t, why?

CRABTREE-IRELAND: Because the thing was, it wasn’t good enough for our members at that point. So, we couldn’t do that and so we went on strike with the WGA.  Even then, I believe that their strategy was to wear us down, but our members didn’t get worn down. Yes, everyone’s hurt the whole industry, all the workers hurt and I don’t want anyone to ever think we didn’t know that and feel that. I did, all of us did. But what we’re fighting for something that was wasn’t just a regular three-year marketing cycle, we always knew that.

DEADLINE: How did that manifest itself?

CRABTREE-IRELAND: This was a negotiation for the future. For the future of our members and our industry. And members stayed strong at our picket lines. I’d say the last few days have been as strong as ever. Our members did not get weakened. They did not get discouraged. They knew that we were fighting a battle we were going win. Ultimately the studios and the streamers had to recognize. Also, the fact that the public and the rest of the industry really did hear us when we talked about we were fighting for was great.  Between us and the Writers Guild, I think the public support was extraordinary, and I think the studios had to acknowledge that as well. So,  there was a lot of elements that came together to really help us get here.

DRESCHER: One thing I made sure of too was that every community and every major concern for this contract was well represented. Represented by not only our amazing staff and chief negotiator, but experts. Our experts were with us every step of the way, in all fields, and that’s why we got so many, I believe, groundbreaking new things language in the contract that never existed before. This time called for that. I’m just grateful that the AMPTP recognized where we were coming from heard us and met the moment.

CRABTREE-IRELAND: Yes, there was a lot of progress made, and the last very last thing was negotiation on the toughest issues. I guess that’s to be expected, because all of the underbrush had been cleared and all of the points that could be addressed most easily had been addressed. In the end, we did things to send signals that we were not holding on to anything that we didn’t really need. To let the AMPTP know, and see, at the end this wasn’t a case of negotiating just for everything we wanted. It was for things that our members really needed, that were really important. As the studios really started understanding that, they realized that if they wanted to have an agreement in the timeframe that they were looking for, that they would have to do something to address those needs. And they ultimately did. So, a day after we agreed on a deal, I appreciate that very much, because that is what helped us get this across the line in the end.

[davidaugust]

Not only did the CEO Gang of Four (Donna Langley, Ted Sarandos, David Zaslav and Bob Iger) trigger the longest actors strike in film history, they further embarrass themselves with more obvious lies.


#ActorsStrike #SAGAFTRAstrike #SAGAFTRAstrong #UnionStrong #union #u1

[denimbex1986]

'Cillian Murphy shouted out his “Oppenhomies” while accepting his leading actor BAFTA award.

After thanking the film’s director Christopher Nolan, producer Emma Thomas and Universal Pictures chief Donna Langley, Murphy said: “I want to thank my fellow nominees and my Oppenhomies and, in fact, all of you in the room. I know it’s a cliché to say I’m in awe of you, but I genuinely am in awe.”

Murphy played J. Robert Oppenheimer in Nolan’s biographical drama, which took home seven awards throughout the night, including best director for Nolan and best film. The film, which scored 13 nominations in total, chronicles the life and career of Oppenheimer as he develops the atomic bomb during World War II.

“Thank you for seeing something in me that I probably didn’t see myself,” Nolan told the director while accepting his award. “Chris, thank you for that extraordinary, exhilarating script and for always pushing me and for always demanding excellence.”

“Oppenheimer was this colossally naughty, complex character and he meant different things to different people,” Murphy continued. “One man’s monster is another man’s hero. That’s why I love movies, because we have a space to celebrate and interrogate and investigate that complexity. And it’s a privilege to be part of this community with you all.”

He was up against Bradley Cooper in “Maestro,” Colman Domingo in “The Rustin,” Paul Giamatti in “The Holdovers,” Barry Keoghan in “Saltburn” and Teo Yoo in “Past Lives” in the leading actor category.

Murphy was a 2007 nominee for the BAFTA Rising Star award. In 2023, he scored a leading actor nomination at the BAFTA TV Awards for “Peaky Blinders.” “Oppenheimer” is his first nomination at the BAFTA Film Awards. The Irish actor is also nominated for leading actor at the Oscars for his role in “Oppenheimer.”

“Cillian Murphy, with a thousand-yard beam, the half-smile of an intellectual rake, and a way of keeping everything close to the vest, gives a phenomenal performance as Oppenheimer, making him fascinating and multi-layered,” wrote Owen Gleiberman about Murphy’s performance in his review of the film for Variety. “His ‘Oppie’ is an elegant mandarin who’s also a bit snakelike — at once a cold prodigy and an ardent humanist, an aristocrat and a womanizer, a Jewish outsider who becomes a consummate insider, and a man who oversees the invention of nuclear weapons without a shred of doubt or compunction, only to confront the world he created from behind a defensive shield of guilt that’s a lot less self-aware.”

Despite the “Barbenheimer” phenomenon of last summer, after both “Oppenheimer” and “Barbie” landed the same July release date, Greta Gerwig’s movie failed to take home a single award at the BAFTAs. Bradley Cooper’s “Maestro” was similarly shut out.'

[maximumwobblerbanditdonut]

The Strike Is Over! SAG-AFTRA & Studios Reach Deal On New Three-Year Contract

Dominic Patten And Anthony D'Alessandro

November 8, 2023 4:39PM PST

After 118 days of the actors guild being out on strike, SAG-AFTRA and the studios have reached a tentative deal on a new contract that could see Hollywood up and running again within weeks.

The strike will be over as of 12:01 am PT November 9, we hear. Culminating a very dramatic day of studio earnings results and deadlines, the actors guild’s 17-member negotiating committee unanimously voted to recommend a tentative agreement to the SAG-AFTRA board.

Coming just less than a month after Writers Guild members overwhelmingly ratified their own agreement with the Alliance of Motion Picture and Television Producers, SAG-AFTRA’s deal is the culmination of the latest round of renewed negotiations that began October 24. Indicating the seriousness and stakes of the negotiations, Netflix’s Ted Sarandos, Disney’s Bob Iger, NBCUniversal’s Donna Langley and Warner Bros Discovery’s David Zaslav frequently directly participated in the talks.

The tentative agreement follows the studios responding on November 3 to the guild’s last comprehensive counter with a self-described “historic” package. That was succeeded less than 24 hours later by an expanded group of studio leaders — including execs from Paramount, Amazon, Apple and more — joining the Gang of Four to brief SAG-AFTRA on the AMPTP’s new offer, which was said to include big gains in wages and bonuses as well as sweeping AI protections.

We didn’t just come toward you, we came all the way to you,” Sarandos told guild leaders Saturday before SAG-AFTRA brass began digging into the fine print. Further talks between the two sides began earlier this week as the guild poured over the studios’ latest set of proposals.

Now, if all goes as planned and the board signs off on the deal, eligible members of the 160,000-strong actors guild will vote soon to ratify the new agreement. Also, with SAG-AFTRA pulling the plug on the strike just after midnight and before the ratification vote is completed, people could be back to work soon and production restarted quickly.

Exposing many of the shifts and divisions in the industry over the past decade, today’s tentative agreement comes at the end of a long road filled with diversions and potholes.

Overall, the six months of Hollywood strikes is estimated to have cost the Southern California economy more than $6.5 billion and 45,000 entertainment industry jobs after production ground to a halt with the WGA hitting the picket lines in early May and SAG-AFTRA following in mid-July. On an individual level, the labor action garnered passionate unity among guild members. At the same time, a fact not lost on the studios and their strategy, many guild members have suffered crippling financial hardship, as have below-the-line workers, going months without work.

After calling the strike July 14, it took the guild and the studio CEOs’ Gang of Four around 80 days before their first official face-to-face talks at SAG-AFTRA headquarters on Wilshire Boulevard. For all the optimism and momentum coming out of the completed WGA deal, those new deliberations between SAG-AFTRA and the studios that began October 2 blew apart on October 11, with the AMPTP leaving negotiations early after the guild tabled an alternative to its contentious revenue-sharing proposal. A few hours later, expecting more scheduled talks the next day, SAG-AFTRA president Fran Drescher and chief negotiator Duncan Crabtree-Ireland received a call saying deliberations were “suspended.”

“Last night, they introduced a levy on subscribers on top of [other] areas,” Sarandos said the next day at an industry conference, calling the proposal a “bridge too far” and blaming the guild for the talks ending. Later, SAG-AFTRA accused the studios of “bully tactics” and using the “same failed strategy they tried to inflict on the WGA.”

On October 18, after Netflix stated in its Q3 earnings report that talks were “ongoing” and Sarandos said the guild “really broke our momentum” towards a deal, Crabtree-Ireland called BS. “The best way to reach a deal and end this strike is for him and the other CEOs to end their walkout from the bargaining table and resume negotiations,” the SAG-AFTRA national director and chief negotiator told Deadline. “We have been and remain ready to continue talks – every day.”

After an appreciated but DOA bid by George Clooney and other A-listers to intervene in getting talks restarted, it looked like the actors strike would pass the 100-day milestone with no end in sight. Then, on October 21 , after Drescher hit out at the “AMPTPs strategy of non-negotiation” and “a blatant propaganda attempt to discredit union leadership and divide our solidarity,” Bob Iger made a call to Crabtree-Ireland and asked to start a new round of talks.

At 3 p.m. PT on the strike’s 100th day, SAG-AFTRA and the AMPTP put out a joint statement that they were heading back to the bargaining table on October 24 at the guild’s headquarters. That first day of negotiations between the parties was “not great,” according to a well-positioned source. As the studios put forth a new offer they hoped would end the stalemate over “success-based compensation,” the guild proved unmoved, but also open to further discussion.

Although the parties had agreed to meet on October 25, the guild asked that morning to take the day to go over the studios’ proposal of increased bonuses based on the success of streaming shows and movies and a further rise in minimum rates. “It’s a step in the right direction and the negotiating committee is taking the time to do a deep review,” a guild source told Deadline.

The two sides sat down again face-to-face around noon on October 26 with Crabtree-Ireland telling Deadline he was “cautiously optimistic” about deliberations with the studios. The guild slide across the table a self-described “comprehensive counter” that attempted to move the two sides closer together, sources said. As open letters from both supportive and impatient guild members flew around town, the AMPTP and SAG-AFTRA’s negotiating committee were back in active talks on October 27. With both sides taking October 30 to be “working independently,” virtual deliberations bled into the weekend with the parties trying to bridge their differences.

On Halloween and in the early days of November, the parties met again. As the parties got “closer and closer,” as a guild source told Deadline, on issues, Crabtree-Ireland and Lombardini continued conferring directly, with breakout groups of lawyers and other specialists huddled in search of a deal – successfully we now know. Followed by two days of consultation by the guild, the November 3 delivery of the studios’ response to the guild’s latest counter and SAG-AFTRA’s November 6 counter response saw the two sides find an AI compromise and began moving things into what we now know was the final phase.

It took an unexpected strike by actors guild (who many studios execs thought were bluffing despite an overwhelming strike authorization mandate), a lot of moving pieces, guild solidarity, and some hard negotiating sessions to get there.

The actors union joined the WGA on the picket lines when it went on strike July 14, creating Hollywood’s first joint strike in more than 60 years. There were a lot of hot summer days when the labor battle remained at a stalemate.

But things shifted after Labor Day. The WGA reached a deal with the AMPTP on September 24 after five months on the picket lines and a final five intense days of deliberations that included the CEO Gang of Four for most of those last sessions. The WGA leadership approved the tentative agreement and ended the strike at 12:01 a.m. PT on September 27. WGA members ratified the deal by a wide margin October 9.

As exclusively reported by Deadline on September 26, the studios and SAG-AFTRA intended to ride the wave of the WGA deal to set meetings within a week or so on their own talks. However, as the goodwill of the WGA’s successful negotiations faded into bitter public call-outs from leaders on both sides, many feared, even with a new round of talks, the actors strike could last well into the holidays, ruining any chance at a partial broadcast networks season and hobbling the 2024 movie slate.

That catastrophe seems to have been averted now.

[reaper2187]

Introduction

Henlo, I'm Reaper (not my real name so we clear)

I wanted to make this so people can get to now me a bit more. I'm 17 turning 18 this year. I'm a female and a lesbian. I would like to think of my self as a masculine lesbian. I like sciences and studying to be a doctor. I'm also European.

I only write about women loving women or gender neutral reader's. So men don't interact. I don't really write smut.

As for characters who I write about, I use the wheel of names for that. so here's who I have right now:

abigail (sdv)

akeno (dxd)

alcina (re8)

alexa bliss (wwe)

alrecchino (genshin)

amber (scream)

angell (ptn)

asami (tlok)

bela (re8)

cairo (miller's girl)

caitlyn (arcane)

cabernet (ptn)

cassandra (re8)

chameleon (ptn)

chelsea (ptn)

clornide (genshin)

daniela (re8)

donna (re8)

dreya (ptn)

ei (genshin)

eirene (ptn)

eleven (ptn)

esdeath (akame ga kill)

evie (descendents)

fury (darksiders)

haley (sdv)

hamel (ptn)

harley (DC)

irina (assassination classroom)

iron (ptn)

ivy (DC)

jade west (victorous)

jenna ortega

jessica rabbit ( who killed roger rabbit)

kirari (kakegurui)

la signora (genshin)

langley (ptn)

lesso (the school for good and evil)

lisa (genshin)

mai (atla)

mal (descendents)

malenia (elden ring)

midnight (mha)

mikey madison

Yae miko (genshin)

monarch (vtuber)

natasha (marvel)

navia (genshin)

ninety nine (ptn)

ningguang (genshin)

nox (ptn)

rias (dxd)

riraki (kakegurui)

rhea ripley (wwe)

rosa (b99)

shalom (ptn)

silvervale (vtuber)

tsarista (genshin)

verosika (helluva boss)

wanda (marvel)

wednesday (wednesday)

wonder women (DC)

yaoyorozo (mha)

yelan (genshin)

yumeko (kakegurui)

so ye. I will do some requests since I have some free time right now. I hope you find this useful, you can ask any questions and I will try to answer them to my best capabilities. okie, bye bye, I must go be a menace to my friends now