#and it's DEFINITELY not over until sag-aftra gets THEIR deal

[montanabohemian]

WGA GOT A (tentative) DEAL

WGA GOT A (tentative) DEAL

WGA GOT A (tentative) DEAL

AND NOW WE KEEP FIGHTING TO GET SAG-AFTRA THEIR DEAL

[chirpsythismorning]

Do you think there's a possibility that they might straight-up cancel ST because of the strike?

Because of the strike? No.

The only way ST would end before it was supposed to, is if the world was literally ending, or Netflix took a huge hit somehow and lost all their investors or something? Even in that case I think they would go out with a bang and invest all of their money and resources into a final season of ST tbh lmao

This does make me think about how the WGA is not encouraging the public to unsubscribe to Netflix or other streamers (yet), as a way to support the strike. I think it could be in part leverage they are saving for later, because maybe that's something they can encourage people to do if the strike is going past like the 3+ month point? It's also been said that Netflix wants to up their prices again for their plans, but with the strike going on, many are speculating that it would be too much of a risk for them to increase prices rn. If they did, say in the summer at some point, that would be a great time for the writers to tell the public to unsubscribe, because the impact would be massive since so many are already unsubscribing anyways, writers getting paid horrendously could have the potential to be the final push for subscribers already ready to call it quits.

But it also could honestly be because they don't want to totally ruin the relationship with their employer, who ideally they still want to work for when this is all over. Hurting Netflix financially with intent, is where it might get into nasty territory for future collaborations together.

This is also why I think the production for ST all around is fairly quiet. They themselves cannot do too much bc they are SOOO tied to Netflix, quite frankly they are Netflix. There's a reason they're not posting pictures together out during the strike, there's a reason all of the million dollar actors are being pretty quiet. Because when filming inevitably starts back up again and ST5 is being promoted and released, they're going to be back to praising Netflix for all they do for them. And spoiling that relationship, by going too far, might make things, at the very least, awkward in the future, or at the worst, well I don't really want to think of hypotheticals for that.

I think all they could do at this time, is have the Duffer's themselves speak out in support of the strike, disclosing that they will not begin filming ST5 until a deal is made for the writers. And so they did that, and now all they can do is wait and stay pretty quiet hoping it goes well. THIS is why they're out here trying to hint at it subtely to get fans involved. In that context the byler sign is actually quite hilarious, bc it is potentially a big spoiler and therefore a fuck you to netflix, but bc it was posted on tumblr and no one really takes us seriously, it's gone under most of the audiences radar. Like I'm pretty sure there has been zero official reporting on it, whereas the Steve one did get that. Though that one was, again also from a writers account sneakily. So there is definitely this feeling that subtlety might be their only option rn.

Otherwise when it comes to the strike in general, we've got SAG AFTRA potentially joining in, which means now you've got actors striking. And then potentially even DGA joining. Directors are a lot harder to pin point in terms of their potential support, though in this day in age, I think they have a lot more in common with being exploited just like their writers/talent do. Not saying that plenty of high paid directors aren't in kahoots with studios, but also, the honest ones want a good environment for their productions and I doubt they would want everyone below the line hating them (and it being rightfully deserved).

Shawn Levy is a big name director, with both ST and Deadpool under his belt. It's likely he would support a directors strike, and others among him could as well. There's only been one DGA strike in our history and I guess it lasted like 3 hrs, bc that's how fast the studios were willing to make a deal to get the directors back... So directors have a lot of power to put a stop to this hold out by the studios. Not only that, but writers, actors and directors have never in our history had a strike all at one time. We'll have to wait and see.

For a rough timeline of what is to come:

May 17th: SAG agreed to allow its members to vote on a strike authorization. SAG represents 170,000 members roughly, so that's a lot of people in the industry making that choice to potentially stop filming to strike in order to fight for a fair deal themselves. Right now, it seems like there is a lot of support from SAG saying that they will be voting yes.

June 7th: SAG will begin negotiations with AMPTP.

June 30th: The current SAG contract with AMPTP will expire. If negotiations between the TV/Theatrical negotiating committee and the AMPTP are unsuccessful, the National Board may declare a strike. The current DGA contract is also set to expire that same day as the SAG. This would essentially be like May 1st with the writers strike all over again. If a deal isn't reached on June 30th, a strike could begin on July 1st.

It's possible a deal with the writers and studios could be reached before then, especially if they are preparing for the other two to strike and make deals as well. They might have no choice but to get their shit together sooner than later while that is happening.

But who knows. In a worst case scenario neither SAG nor the DGA would strike and it could go longer without more support. The support right now from the public is also good, but it will need to continue full force and not dwindle if we want to see things get resolved sooner than later.

Very cautiously optimistic rn, but prepared for anything to change.

[longlivetv]

Ok brainstorm time - since she's thrown out the window the previous ways of doing things (yay for us lol) and the 13 weeks from release for streaming, which puts it in january, do we think she will release to streaming early next year or do we think streaming will wait until the end of tour (with maybe more cinema dates between)

So, my radical opinion is that she was never for sure putting it on streaming at the 13 week mark. That was the minimum amount of time she would allow to elapse, but not a guaranteed arrival date. And I believe a number of factors went into it: 1) She gave that as a minimum to AMC as a selling point, because most studios are doing simultaneous or near simultaneous releases that undermine theater profits. So by setting the interval longer, she made her film more attractive. 2) SAG-AFTRA and WGA strikes meant that even though she has a waiver, she’s very conscious of how she can use her power to prove their point (that you can do things the right way and if studios won’t acquiesce there are ways around them) so I don’t think she has a deal with any streamers to distribute. Now, if she hadn’t been working on the deals to get the film in more countries, then I think she might have more seriously approached the streamers because it’s easier to get international distribution that way, but I think she was favoring the in-person experience over the in-home one (after all we’ve all seen that one on tiktok, and we know she knows it). 3) I think she is looking for out of the box distribution methods for the next life of the film - everything she’s done so far is unorthodox, except getting the SAG-AFTRA waiver which she did by the book (we stan a Union girlie). And I’m not sure even she fully knows what that might look like yet, which is why we’re not getting any rumors or info. 4) She may genuinely be waiting for BOTH unions to reach agreements before moving forward.

That said I’m not an industry insider or anything so I could be fully wrong about any of that. But I definitely think the decision about what comes after the theatrical run is still very much a work in progress and I’m curious to see what she comes up with.

[hiphopscriptures]

Fresh Artist Fridays: Brave Williams

Don't Tell Me No, is an unapologetic assertion of vulnerability. It gives you permission to not let your ego make decisions for your heart and a reason to say yes to love. "To me, my song Don't Tell Me No, has a timeless sound. It's Classic. I really wanted to channel that feeling in the video; so I decided to pay homage to an era that represents that to me, the jazz era," mentions Brave. "I wanted something simple, elegant, clean and classic. A beautiful black piano, a talented pianist (Johnnie "Smurf" Smith), and an old school mic," she adds.

The song was written by Brave Williams, Brittany Barber (John Legend, Ty Dolla), and Kristal Tytewriter Oliver (Diddy, Chrisette Michele) and produced by Ivan “Orthodox” Barias (Mary J Blige, Phony PPL, Chris Brown) and the classic visuals were directed by Zack David. "Don't Tell Me No" music video was globally premiered on Bossip.com and is available on all streaming and download platforms now.

Brave Williams Bio:

Call it her parents’ prophetically-ordained choice of first names for a baby girl or divinely inspired coincidence - as per textbook definitions which encompass everything from “a bit daring” and “ready to face and endure” to “without showing fear” – singer/songwriter/SAG-AFTRA actress BRAVE WILLIAMS has been nothing less than courageous, spirited, determined and dauntless in her whirlwind rise to notability within the worlds of music and entertainment over the course of the past few years. Having quickly and effectively established herself as that simultaneously “sultry and edgy while everyday relatable” songstress whose “Oooh Luv Ya” and “Road Trippin’” 2015 singles set off buzzworthy online presence and fast-growing download support, in definitively brave fashion, BRAVE WILLIAMS more than lives up to the meaning of her name as she precedes her audacious, anticipated self-titled full-length debut set (a Brave New World/SRG ILS/Universal Group release) with the recent release of her oh-so-sultry R&B beat-ballad latest single, “Don’t Tell Me No.”

With her now signature self-assurance paired with a heavy dose of vocal temptress; the lovelorn, “old-school-slow-grind-meets-slinky-paced-modern-R&B” flow of “Don’t Tell Me No” finds the vocalist noted for championing her girls actually addressing the fellas this go ‘round, all while examining relationship “goings-on” and vulnerabilities both genders can easily relate to. “It’s completely relationship-driven,” Brave explains, upon sharing the inspiration for the song, “based on conversations I’ve had with my sisters and best friends. Men always have this idea that they have to be strong and powerful with whatever it is that’s going on. And men are just as scared as women to fall in love. So to me, it was like a declaration to men like ‘I know you’ve been through some things that have your protective wall up, but don’t let that heartache or disappointment become your permanent identity. You can still be open to fall in love, but fear will keep that blessing from happening.’ Because there’s so much noise happening – like politics, the social climate and things on the news – I want people to be reminded that love can slice through all of that…and kill all the noise. I want that to be welcomed, and I want people to be invited to always go back to love despite everything’s that’ going on.” Though attitude-laced, ladies’ anthem-styled singles like 2017’s bouncy, head-boppin’ “U Tried it” and early 2020’s deep-bouncin’ “Options” may have empowered the ladies, she’s ultimately a fair and equal opportunity (musical) communicator. “I am so pro-women, like I am always here for my girls,” she ponders upon the mention of feminism, “but I never want anyone to think or take my interpretation that I’m anti-man, because I’m not anti-man. I love my men, which is why I wrote ‘Don’t Tell Me No,’ because I wanted to speak to my men like ‘I know you’re scared. I know that you can be feeling some type of way about love and relationships. But let’s do this together; don’t tell me no.’”

Largely produced by Ivan Barias (Musiq Soulchild/Mary J. Blige/Chris Brown) while Brave handled songwriting alongside co-writers Brittany Barber (John Legend/Ty Dolla/Love & Hip Hop Hollywood) and Kristal Tytewriter (Diddy/Chrisette Michele), multifaceted Brave’s anxiously-awaited Brave Williams full-length LP aims to make good on the promise and hoopla generated by the release of her Fearless EP (2015) and its breakthrough singles. “Ivan is part of my Philly team whom I’ve known for several years now,” she shares. “He actually produced a lot of my records on Fearless. Once we met through [our mutual manager] Michael we just clicked. So it’s actually Ivan and Tytewriter [I worked with]; she’s a Philly-based songwriter who’s worked with Diddy, Ledisi and Estelle…and she’s also an engineer. So she engineers all my sessions.”

Hence, beyond the independent woman-themed “Options” and the love introspection of “Don’t Tell Me No,” the BRAVE WILLIAMS contemporary hip-hop/R&B music listeners have come to know musically and melodically elaborates and narrates an everyday love journey with a debut set that manages to tell a full-fledged story. “This new album is me being totally transparent about relationships; so I’m taking you through the beginning, the middle and the end of relationships,” says the sassy siren of her Brave Williams debut. “Whatever those emotions are, it’s telling a complete story. So in the beginning, when you’re extremely happy and have that full love feeling, is something I wanted to capture with the uptempo songs. Or going in the middle when you realize ‘Ok wait a second; the person I met six months ago has left the building’ and it’s like “Who is this guy? Let’s not forget that I still need you to treat me like you treated me in the beginning.’ And it takes you all the way to the end, whatever the end might be; if you’re happy, there are happy songs on there. And if it’s a breakup or even some of my own trials and tribulations that’s I’ve experienced in relationships, I’ve definitely penned those songs. It’s kinda like a diary…..a relationship diary [which is a bit scary].”

As it turns out, the seeds for her talent and penchant for storytelling can be traced to her early Baltimore, Maryland-based childhood…more specifically in the back-seat of her Mom and Dad’s red Chevy, on a day she vividly recalls hearing legendary rapper Tupac’s “Keep Ya Head Up.” “I remember it like it was yesterday; I was mesmerized,” Brave recounts. “I know that I had heard hip-hop before that moment, but that was the first time that it really resonated with me and I started writing. I really just started writing poems. I had no idea I could sing because I started out rapping.” Always quick to showcase her rapping and spoken word skills at open mics, she confesses that she stumbled onto the notion that she could sing upon trying to turn one of the raps she’d written into a song. That epiphany spurred a newfound exploration and appreciation of the R&B of her generation (“I love Faith Evans, Jill Scott since her first album and ‘What’s the 411?’ by Mary J, because she was like the perfect marriage of hip-hop and R&B”), as well as more classic R&B from the likes of Stevie Wonder, Bobby Caldwell and one of her idols, 80s singer/songwriter/musician Patrice Rushen.

Armed with her newfound appreciation of soul/R&B and burgeoning songwriting talent while honing her singing chops, characteristically ballsy go-getter Brave ventured and dared to develop her craft partaking in countless local open mics, one of which permanently changed the direction of her life and fast-forming music career. “Someone in the crowd pulled me aside after I got off stage [one night] and said ‘I wanna introduce you to a producer in D.C. who’s looking for an artist,’” she recounts. “From that, I was introduced to [producer] Rich Harrison (Beyonce'/Amerie), I signed a solo deal with Columbia Records and I never let them know that I had just learned how to sing two weeks before.” Thus the spirited determination which defines her very name arose, in which case she admittedly “faked it. I was like ‘Yeah, I could sing’ and once I got in the studio they could tell I was undeveloped. So once ‘the cat was out the bag’ I knew I didn’t want to lose my deal, but I needed to put myself around singers so I could grow. So that’s how I came up with Richgirl.” Signed to Jive Records, though the female quartet (which also included fellow siren Sevyn Streeter) captured the attention of an immediately awestruck urban audience with their mad-tight Harrison-produced “He Ain’t Wit Me Now,” which fans concluded should have been huge and remains a multi-million-viewed VEVO music clip, the group never quite got off the ground.

However, when you’re the living and breathing synonym for the word “brave” – in fact, indomitable – you move one, following your creativity and passion where fate takes you. In the case of BRAVE WILLIAMS, that meant persistently pursuing her dreams, adeptly learning from her experiences and exposure and seizing opportunities presented until that eventual “right place, right time” scenario. “It was because of that experience [with the group] that I got the knowledge to start my own label,” admits Brave, “just to learn the administrative work a major label actually does. To learn the type of work that’s required of an artist…like the long hours and tour life. It gave me tools to really navigate and properly start my own label (Brave New World). That’s what I did after the group disbanded and then that’s when I put out my first song, ‘Ooh Luv Ya.’ Then I hired everyone I needed [like a street team], the PR and ‘this and that’ to get that song on radio. And so when that started playing on radio, that’s what got the attention of R&B Divas (TV-One reality show).” Like a fast-rolling, momentum-building snowball, Brave commenced to not only recording her Fearless EP with subsequent singles and landed noted acting roles in VH-1’s CrazySexyCool: The TLC Story biopic, BET’s Angrily Ever After, her first leading role in Netflix’s Love Dot Com and BET’s The Christmas Lottery (alongside Greenleaf’s Asia Epperson and Family Matters’ Reginald Vel Johnson), but embarked on her passion for philanthropy though hands-on work and involvement with Associated Black Charities, the Baltimore area’s St. Francis Mentorship Program and City Women’s Shelter, acting as Ambassador/lead lrainer for the Steve & Marjorie Harvey Girls Who Rule The World girls’ mentorship program (for 200 young girls from around the world); and advocating health, fitness training and wellness through her very own Brave Williams Fitness Club. The club’s specialization in weight loss, diet nutrition, personal training, tailored fitness plans and increasing muscle mass is a personal passion she takes quite seriously and a source of great pride given its results in her local community. “In the last two years I’ve transformed 3,200 bodies,” proudly shares ISSA-licensed (International Sports and Science) certified trainer, Brave, “from women who were morbidly obese and those who’ve suffered from diabetes, to heart palpitations and other illnesses. It’s always my goal to get them off the various medications and another thing that I’m really passionate about.”

In the meantime, music listeners can also rest assured that same exact level of creative passion was invested into every song that comprises her curiously-awaited Brave Williams debut collection. “I wanted to be transparent in my moment and that was the moment of writing this album and reflecting on everything. I want people to relate to it. I want to be able to inspire the people who hear the songs. And if they’re in that type of relationship at that time, they can use some of my records as navigation on how to handle what they’re feeling. My whole purpose is to inspire.” Sounds to me like the musical mission taken on by beautiful and multi-talented BRAVE WILLIAMS was much more than accomplished.

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[i-may-have-a-point]

Review of 13x19 “What’s Inside?”

When I first watched the episode, my initial reaction was that it was so awful I didn’t need to write a review. But then I thought that maybe the fact that it was so awful was something I needed to write about. There is a lot to be said about the choices the show isn’t making, so this review really focuses on that.  

I get the opening scene completely. As I said in my 13x18 review, this episode is about Maggie accepting her mother’s death, so opening with her visiting her mother's grave makes sense. Now I don’t think this story should have been the one driving the episode, but here we are anyway. As much as I expected a scene with Maggie at her mom’s grave, I was distracted during most of it. I had to watch it twice just to tell you what Mer and Amelia were saying to each other. And the thing that distracted me has been distracting me for a while – Mer’s clothes. For the most part, I think the wardrobe department is fantastic, especially with the women. Each woman has a specific style to their clothing outside of the hospital that reflects their personality well. Even in this scene, Amelia’s leather jacket is a great call back to her edgier Private Practice days. It was a great clothing choice. But it makes the poor clothing choice for Mer even more obvious. Mer’s style is slowing becoming, “Well it looks clean, so I guess I’ll wear it.” And that would maybe be understandable if she was sporting the tired mom look, but since her kids have been in the basement since season eleven, it’s strange. And on top of that this is the second episode of the last three where someone has called Mer hot, so they clearly want to send a message about her appearance to the audience. It’s all very strange.

Eliza, Arizona, and Riggs – For a character that was the catalyst for one of the only story lines the show chose to focus on this season, Minnick has been curiously absent from our screens. I have to think the show got the hint that the fans were not going to be told who to like and decided to pull back a bit. The audience screaming “No!” at Paleyfest when Arizona and Eliza were mentioned had to have grabbed their attention at least a little. Arizona says to Riggs, “It’s just that people are so full of opinions about Eliza…” and I don’t think that was completely about the characters.  It feels like Arizona is justifying to the audience why it’s okay for her to be with Eliza. “I’m recently divorced.” (Recent? Define recent because people have had babies and completed cancer trials since your “recent” divorce. Is this another Grey’s timeline black hole?)

Owen and Amelia – Oh look, Owen’s Army friends are happily married and expecting a baby. Good. We haven’t dangled Owen’s dreams in his face in a couple of minutes. Let’s do that again.

April, Steph, Cross – I am so happy to see April back. April/Sarah really does bring a much needed light to the show. It’s not the same without her. I get that this story was supposed to bring the comedy to balance the seriousness of Maggie’s surgery, but it ended up stealing the show. These three do comedy so well. Too bad we won’t see it more often.

Mer and Alex – I just can’t. I need Alex to do something other than prop up Meredith. Even if they want to ignore Jolex, give him anything else to do but that. Please. And this Mer and Riggs will they/won’t they go on a date is not suspenseful. You had sex with him in your car in the parking lot at work, Mer. I think you can eat a meal with him. The audience isn’t feeling a build-up. If anything, we are losing interest and hoping Riggs runs in the other direction.

Bailey and Webber – I almost forgot they were in the episode. When Shonda said this season would focus on the originals I expected great storylines for Bailey and Webber. Instead we got the equivalent of them fighting over Bailey choosing a new friend to do her school project with. They deserved better, but that could be said for most of the characters, so I will just be happy with the fact that it seems the Minnick/Webber storyline may be over.

Cross, Steph, Deluca – Jo Adler (Cross) is such an untapped talent. I get serious early George vibes from him and I love it. So we probably won’t see him again until next season.“I have Obamacare. I have a year left, and I…” You know an episode is bad when I say out loud, “I want to see more of Cross.”

Owen, Jackson, Amelia, Mer – I love that Jackson is always eating. I would stress eat if I worked there, too. As frustrating as it is that we have no Japril scenes, we do get an April mention from Jackson, which I think is significant. This happened in 13x05 as well when she had her first day back to work.  They had no scenes together, but he asked about her.  So, at least she's on his mind? Sigh.  And Jackson telling Mer it’s not normal she operated through a miscarriage was a great moment.  Funny.  Especially since Owen is the one she operated on, and he is sitting right there.

Mer, Amelia, Maggie – I like Maggie. I do. I mean, I generally like everyone, so I don’t know if that means much. But I’m not invested enough in her character to want to watch three episodes in row basically focusing on her. The show really, really wants me to be, but it hasn’t happened yet. Audience connection to characters has to be organic. It can’t be forced, and it’s just not there with Maggie for me.

Maggie operates – And she is absolutely fine. Sigh. I mean I definitely didn’t want anything bad to happen to the baby or mother, but this story was anti-climactic and so many other stories are just sitting, waiting to be told.  If those stories are getting bumped for this one, at least make it amazing.

April, Steph, Deluca, and Cross – Sarah and Jerrika really have a great dynamic onscreen together. I mean Stephanie being Jackson’s rebound sort of cancelled any chance of friendship, but their scenes always catch my attention. I love anytime April is shown as a capable and in control surgeon, so her annoyance at Steph and Deluca was great. Again, these scenes were the best of the show for me.

Mer, Amelia, Maggie - The dance it out scene was inappropriate to me. Shonda puts scenes in like this or a few of them eating lunch together and then tweets, "Oh, it's just like old Grey's!" like that will make us forget this season has been a mess.  And dancing it out was a thing reserved for cheating boyfriends or bad days at work, not dead mothers.  Dead mothers deserve a scene where they act like adults who are capable of dealing with their emotions and have a conversation.  But, of course, we don't get conversations.

Maggie and Jackson - So, I don't see why people are freaking out.  I just don't. I've tried.  I've watched and rewatched and squinted at my screen.  I see nothing.  I mean, yes, they have had more scenes together, but absolutely nothing in those scenes has hinted they would be romantic.  If anything, Jackson literally called her family.  I think what this really is about is the fact that we have had no resolution from Montana so it is easier to see this as a possible reason than to just admit that the continuity and writing have been way off this season.  I really think that since JTS was filmed in November, the show wasn't sure where it was going in the line up (they have moved two centrics recently) and they just didn't film anything that would be out of order for Japril.  And let's be real.  The show knows what they have with Japril.  Just look at the publicity and money that was spent on JTS.  The other centrics have not gotten that kind of treatment.  Jesse and Sarah filmed on location for days with another crew.  That location had to be rented.  They had to pay the Grey's crew and the other crew at the same time.  And the press?  I read at least ten articles about JTS from entertainment sites.  Jesse and Sarah were sent to the TCAs to promote it.  They did the SAG-AFTRA screening, which is a big deal for the Screen Actors Guild to do something like that.  Jesse was sent to New York to promote the episode on like five shows.  I can't think of any other time the show has spent the time and money on a single episode like they did for this one.  They aren't going to throw that away.  And those pics Debbie Allen posted hinting that their last scene of the season is a good one?  That was intentional.  They know that Japril is the biggest couple on the show right now.  If they were to trade that to test a relationship between step-siblings, the audience would run.  Sure there are about five people who would be fine with it (and I am deeply concerned for them...) but overall I think a large portion of their audience would be done.  And that is not to say the show hinges on Japril.  I'm not saying that.  I just think that would be the tipping point where Grey's has obviously stopped caring about telling good stories and is only trying to be shocking.  As an audience we can only take so much of being ignored.  

Speaking of being ignored, my heart goes out to hardcore Jolex shippers. Their story, or lack of, has been one of the main reasons this season has been such a let down. 12x24 set the stage for a great Jolex story, and then nothing. And I get that Camilla is pregnant, and obviously her health and the baby's health are more important, but they could say something.  Don't just ignore the fans.  They set up this season to be a look into domestic violence and Jo's past, and then we get nothing.  If it's about her pregnancy, just say "Camilla is focusing on her private life right now, so we are pushing the DV story to next season."  Or something!  It could be done without putting her business out there but still respecting the fans.  

I am an optimist, so I still have hope that the last four episodes will bring back the Grey's we love.  If you made it this far, thanks for reading.  This was a long one.