And now our strike has ended.  The battle was fought long and hard, but like all things do it too came to an end.  After a staggering 146 days of work stoppage and picketing outside in the sweltering California summer heat, the Writer’s Guild of America has finally reached a deal with the AMPTP organization representing the top studios in Hollywood.  The resulting deal represents a monumental shift for the industry.  The Writer’s Guild has managed to get almost everything they were seeking through the deal, which includes much needed protections against AI technology, revised residual compensation to be better reflective of the streaming markets’ value, as well as improvements in minimal staffing for televised series and an increase in overall base pay.  The fact that the studios eventually met all these demands in the end shows that the strike was an unprecedented victory for the WGA, and a masterclass in showing the power of solidarity in labor.  Though while the WGA is celebrating the hard won gains they have achieved in this new deal, it has come at a steep cost for many.  Many writers, especially those who were already living paycheck to paycheck, have had to endure nearly 5 months worth of no income, and many who were signed onto contracts with the studios also saw those deals thrown out during the work stoppage.  With the whole industry at a standstill, no work was being done, which meant a lot of other industries dependent on the Hollywood machine were suddenly feeling the pinch of reduced income.  And yet, even with all that hardship, most of the WGA membership would have voted overwhelmingly to strike still, knowing that the future of their profession was absolutely worth the sacrifice that they endured.  And at the same time, showing the example of a unified front in the face of clear cut corporate greed has led to a renewed faith in organized labor that has transcended beyond just Hollywood.

There were a couple of things that did work out in the WGA’s favor during the whole Summer of striking.  Chief among them was that they were joined on the picket lines by the powerful Screen Actors Guild, who began their own strike in July.  Fighting for pretty much the same demands that the WGA was seeking, SAG-AFTRA injected a fresh amount of energy to the ongoing WGA strike.  While the studios can continue to function for a while with the Actors still going to work on already written projects, having both guilds striking at the same time very much brings the whole studio system to a screeching halt.  Without the star power to help with marketing, movies releasing at the same time while the strikes are going on suffer from reduced visibility.  In the last couple of months, we’ve really seen how much of a difference red carpet premieres, press junket interviews, talk show appearances, and plugging on social media really affects the box office performances of a lot of movies.  If it weren’t for the grass roots grown phenomenon of “Barbenheimer,” the back end of the summer might have been severely depressed at the box office.  It was clear from the dismal performances of Disney’s Haunted Mansion (2023), Warner Brothers’ Blue Beetle (2023), and many other late summer films that lack of star studded publicity came at a steep cost for the studios.  It also motivated a lot of highly anticipated, Oscar-hopeful films to move off of the Fall 2023 calendar, like Dune Part Two (2024)  which now has a Spring release next year.  It’s clear that the movie studios know how much they need their stars to promote their movies, and yet it is insane that it took them this long to be willing to sit down and work out a deal.

One thing that the movie studios seemed to fail to anticipate was the strength of solidarity between not just the striking unions, but from all corners of the industry.  The WGA and SAG-AFTRA received support from two of the nation’s strongest unions, the Teamsters and IATSE, who vowed to not cross any picket lines or accept work from any production company not cleared by the striking unions.  The WGA and SAG-AFTRA also had much more favorable coverage from the press this time around.  Though there are some industry rags that remained neutral throughout the strike, a lot of online media bloggers, content creators, and fan communities stated their solidarity with the striking workers, including many from day one.  One of the positive changes that social media has played in changing the game with labor disputes is that it has allowed striking workers to have better control over the narrative.  In past strikes, the studios have easily painted the picketers as a spoiled, angry mob; defined more by the big names than the average working joe, and thereby more easily to portray as ungrateful.  This time around, the world didn’t see the striking writer’s as an angry mob, but instead as individuals because many of them were using their socials to get their own story out there for people to hear.  We came to learn about people who were getting pennies on the dollar in residuals from streaming, all because the studios were exploiting that loophole in the Guild’s contract.  Striking writers were telling the world that they were not unlike the rest of them, working multiple jobs just to make it in Hollywood with the high cost of living, and that the studios were unfairly taking the lion’s share of the hard work that they were doing.  The striking workers finally had a way to outreach and get their message out there through the studios’ interference, and it very much helped to keep the solidarity within the union strong up to the end.

The studios mistakenly believed that the end result of this strike would mirror how the 2007-08 strike ended, with the union being forced to compromise and grant the studios their leeway.  That strike ended because the Writers Guild had no other choice as they ran out of options while the studios still held most of the cards.  They got a modest increase in compensation, but their inability to define what online media would become eventually led to the impasse that ignited the strike this year.  This time around, the Writer’s Guild managed to have the tides of fortune work out in their favor.  If Hollywood itself wasn’t in more of a precarious position that it is in now post-pandemic, the WGA’s strength against the AMPTP’s tactics may not have been so resilient.  If anything, the studios have done themselves no favors throughout this whole strike ordeal.  Every chance that the studios had to look like the better team in this fight was wasted.  The CEO’s of the studios looked especially out of touch with where the mood of the country was during these strikes.  It doesn’t help when you attack striking workers asking for a better living wage while you are vacationing on your million dollar yacht or going to a closed door meeting with the most elite business men in the world.  Never mind that many of these executives also gave themselves insanely high bonuses at a time when many studios have been forced to reduce their labor force.  If the goal was to appear as the good guys in this fight, the executives very much failed at that during the whole ordeal.  They even believed that delaying many of these movies would cause people in the fan community to turn against the striking worker, positioning them as the reason why the movies were being pushed back.  But that tactic did not work as it became clear from the negotiated deal that the studios could have easily met the demands of the unions from the beginning, and the fan community itself knew that striking workers are not the one’s wasting everyone’s time.

That in the end is what was lost most in this fight; time.  While it won’t be felt for another half year or so, we are going to see the ramifications of nearly 5 months of work stoppage felt both at the box office and on television.  Nearly half a year of what could have been productions moving forward for eventual completions and releases into the next year, all wasted.  The Spring and Summer of 2024 may end up looking a little light next year at the box office, as many of the films slated for release will need to catch up quickly or be pushed back further in order to be in a finished state.  And this comes at a terrible time for the theatrical industry, which was just beginning to pull itself out of the hole created by the Covid-19 pandemic.  Movie theaters are going to have to endure a period of time where fewer big tent-pole films are going to be heading to their screens in the next few months, and it’s going to put them right back into a precarious position financially.  If it weren’t for some intervening on the behalf of Taylor Swift and her concert film, movie theaters would likely be in another round of theater closures.  And the fact that the studios didn’t even offer up another offer for several months to the WGA or even join them at the negotiating table is a sign of inexcusable recklessness on a financial level.  The WGA remained firm on their terms, so it was always in the hands of the studios to bring this strike to a quicker end, and they wasted so much time over misguided slander tactics.  In the end, the studios themselves likely will lose more money from the strike then they would’ve given up if they had met the terms of the WGA’s demands in the first place.

The total cost for Warner Brothers alone has been estimated to be around $500 million in lost revenue due to the strike, which kind of takes the shine out of their Summer victory with Barbie (2023).  They now no longer have a sure fire hit to compensate the loss after moving Dune Part Two to next year, and this is the financial woes of just one company.  The total cost of this strike is said to be in the billions for the local economies dependent on the film industry.  California alone is going to see a devastating financial blow from the strikes.  There is a whole economy surrounding the film industry, from technicians working on building sets and setting up lighting, to caterers who feed the crews, to costume makers and make-up artists, and whole variety of freelancers who sometimes only get a single days pay.  Local businesses that supply film productions with what they need also feel the loss of revenue coming in because of the work stoppage across town.  The same also applies to places outside of Hollywood, such as filmmaking hotspots like New York, Atlanta, Vancouver, and even small towns that lucked out in being selected for a film shoot.  Many of these places that believed they were going to see an increase in business due to movies and shows being prepped suddenly had to adjust their timeframes or see the productions disappear altogether.  It was getting to a point where outside forces were looking to intervene.  California Governor Gavin Newsom suggested acting as a neutral broker to get both sides back to the negotiating table at a time when no progress was made.  There could have been a lot of blame leveled at both sides, but with the WGA going in with clear cut goals from the beginning, and the studios misguided in their belief that they could wait them out, the WGA clearly won over more sympathy throughout this whole ordeal.  The moment an unnamed studio executive made the stupid public statement that he or she would like to see the writers lose their homes or apartments during the strike, that is when this whole thing should have been over and the studios should have returned to the negotiating table to save face.  Everything else is a self inflicted wound on their part.

And the WGA now has the things that they should have been getting over the last decade signed into their hard won contract.  One of the strongest achievements, that will very much be a huge factor in Hollywood contracts moving forward are the protections against AI.  AI can no longer be used as a replacement for a writing staff, or be used to justify a reduction in pay, but writers and productions who chose to use AI as a tool can be granted permission by the union.  This is a change in the contract that helps to prevent the existential threat that AI posed in replacing writers completely, thereby ensuring that Screenplay and Teleplay writing will remain a cornerstone profession within the industry.  The new contract also updates the residual pay that a writer will receive from the amount of play that their work generates on streaming platforms, helping to make it much more fare and on par with residuals earned on network television.  Another crucial change made in the contract are the terms of length of employment and size of writing teams for television shows.  The increasing practice of “mini-rooms” on streaming shows had decreased the number of opportunities for up-and-coming writers to be staffed on a frequent enough basis to earn a fair living wage, and it was also affecting the quality standards of many shows, as too few writers were stretched thin across multiple projects.  Now, shows that run a certain number of episodes, whether they be for streaming or not, must now meet the minimum requirement for a writing staff.  There are special carve outs for showrunners who wish to write a show by themselves, but the new deal allows for shows of all kinds to have the right amount of writers it needs and ensures that they will be compensated fairly based on the work they do.  The WGA did have to compromise on the transparency of the studios streaming numbers, which the studios still wanted to keep out of the public eye for now, but they’ll still get internal accounting to ensure which shows are performing better than others in order for the obligations of the new deal to be met.  What is great about the WGA striking this new deal, and pretty much getting almost everything that they were asking for is that it provides the rest of Hollywood a blueprint for future labor negotiations throughout the industry.

It should be noted that this is still a deal in the early stages, with the two sides in agreement on the terms.  The deal still needs to be put up to a vote with the 11,000 strong WGA membership, but considering that the negotiating team and the union membership have fully endorsed this deal, and it seems to be facing little resistance across the membership based on reactions from social media, it is almost certain to be ratified very soon.  Even still, it will take weeks for the writers to be fully back to work as contracts will need to be updated or completely renewed.  Also, let’s not forget that the SAG-AFTRA strike is still very much actively going on as of this writing.  Thankfully, the WGA were fighting for many of the same things that the Actors are seeking and this deal will hopefully bring a swift end to their strike as well, if the studios meet the same terms.  There is a meeting set for next week, so hopefully this is the case.  There are a lot of lessons to be learned from these crucial few months.  One is that the unions in Hollywood are a lot stronger and more unified than people realized.  If the only “scabs” that the studios pulled off in these last 5 months were Drew Barrymore and Bill Maher (both of whom quickly backtracked after immediate backlash) than its a definitive sign that union solidarity is at it’s strongest point ever in Hollywood, and that extends to nearly all departments.  Despite the personal economic toll, there was no resistance to the WGA or the SAG-AFTRA’s fight amongst the working class of Hollywood, and the fact that the unions have come out victorious gives renewed hope to union workers everywhere that they too can regain their fair share from greedy corporate executives who are growing wealthy off of their labor.  The hope is that the benefits won today bear out in the long run.  The industry is going to take a financial hit because of the days wasted without a deal made, and that will have a trickle down affect on movie theaters and local businesses dependent on production.  There will also be a shake-up in productions going forward, as many studios chose to end long running contracts rather than retain writers and actors under exclusive deals by meeting their terms.  There will be consequences of the work stoppage, but long term the strike helped to ensure that a career in film and television will be one with a future; not replaced with AI technology, but instead one worth pursuing if you’ve got a story to tell and the belief that you see that vision to a reality.  That’s something that is absolutely worth fighting for, and for many, the WGA gave many what they always try to achieve individually; a happy ending.

In the late 2010’s, it seemed like the next revolution in entertainment was upon us.  Streaming was the way of the future.  The models of distribution for movies and television were seen as primitive in a world that was now more interconnected than ever thanks to the internet.  On demand entertainment was preferable to a whole new audience that wanted to consume their content on their own schedule.  So, the movie industry, seeing the potential for billions of dollars in revenue that was there for the taking, began to dive head on into this new mode of distribution.  Though they weren’t the first to dip their toes into the uncharted waters of streaming online, Netflix did take the platform to the next level.  They shifted from their lucrative business model of by-mail video rental (which had previously killed Blockbuster Video), and began to invest heavily in online streaming as the new primary focus of their business.  Many analysts at the time called them crazy with their plans to invest billions of dollars annually into content creation for their streaming service, which initially caused their market value to plummet.  But, as people began to see the results of this investment, Netflix streaming not only became a success story, it became a juggernaut in the film industry in general.  Netflix shows and original movies became essential viewing, and Netflix made their imprint in Hollywood at a rate that caused the establishment studios to take notice.  With their films and shows becoming international successes within their own insulated platform, and without the need of distributing through theatrical or network television intermediaries, Netflix changed the industry’s idea of what entertainment could be.  Movie studios could bring their films and shows directly to their audience without paying the costs associated with distribution.  It seemed like Hollywood had the answer to a brighter, productive future.  But as time went on, it may have been more of a false hope than a true revolution.

What is it that got Hollywood’s attention in the first place about streaming.  To access Netflix’s library of films and shows, users must set up an account and agree to pay the service a monthly fee.  Those who had signed up for Netflix’s previous by-mail service were automatically signed up for streaming in the early days, until they eventually split that service off into an add-on and then eventually sun-setted it altogether.  Netflix makes it’s money through the subscription fees much in the same way that people use their gym membership; the value remains the same each month no matter how frequently you use it.  As the membership numbers grew into the millions, it provided Netflix with a guaranteed monthly income that over time became billions of dollars in capital.  Even though they had this income in the billions, Netflix still remained a company with significant debt, because they were taking out loans not just to build out their infrastructure (including server capacity and expanding their office footprint in Hollywood) but to also invest an insane amount into original movies and shows.  It was a gamble, but it overall worked out for them as they eventually grew to become a major Hollywood studio on their own, competitive with the Big 5 (Disney/Fox, Warner Brothers, Paramount, Universal, Sony).  Even today Netflix has a market value greater than any of the other movie studios, though they still are not as widely spread out into other divisions as them.  Still, the Netflix model was envied by the other studios, and it was determined industry wide that this was the model for the future.  Though many studios worked initially with Netflix to air their catalog of films and shows on their platform, it was only a matter of time before they got the idea that they should try it themselves.  And thus began the streaming wars.

Each of the Big 5 studios (except Sony) put into action a plan to begin their own streaming platforms.  Paramount would re-brand their fledgling mini-streaming service (CBS All Access) into a company wide platform.  Warner Brothers would piggyback off of their HBO streaming app and expand it into their own legacy streamer.  Disney and Universal meanwhile, who were the most involved with Netflix from the outset, were looking to build up platforms from scratch.  Not only that, but tech giants and start-ups were also looking to cast their sails into the streaming market.  Apple was intent on putting their name into the streaming world.  And there was also the ill-fated Quibi, which was hoping to make a splash with shorter formatted shows.  All the while, Netflix expanded their reach into bigger and more prestigious exclusives for their platform, seeing as they would have to rely upon them in a more competitive market.  They got filmmakers on board like Martin Scorsese, the Coen Brothers and David Fincher, heralding themselves as the more friendly home to celebrated creatives within Hollywood.  In turn, the movie studios promised that their own platforms too would see investment into prestigious and epic exclusives rivaling what Netflix was making.  For a lot of Hollywood creatives, this was an exciting time because it meant a huge surge in new productions, meaning a lot of jobs created within the industry.  At least that was the hope.  Hollywood certainly was thinking this way, as there were plans to increase the number of production facilities across Hollywood and it’s surrounding communities.  Netflix had already bought up space at the old Sunset Bronson Studios, with additional facilities across Los Angeles.  Apple and Amazon both leased out soundstages in nearby Culver City.  Warner Brothers currently is in the process of expanding their production space near their Burbank lot.  And Disney’s entire acquisition of Fox possibly was motivated by the need to have a more robust library for their platform.  Beginning in 2019, the culmination of all this planning was set for it’s premiere.  This was to be the big test for the future of the film industry; seeing if that Netflix model of subscription based streaming would be the cash cow to deliver a new Golden Age for Hollywood.

There were some things that Hollywood unfortunately didn’t factor in with their plans for streaming.  One was of course a global pandemic.  The effects of the Covid-19 pandemic created a shockwave across the industry.  With movie theaters closed across the world, and production brought to a halt, the movie studios only had their newly launched streaming services to rely upon.  Now this may have looked like a fortuitous moment for streaming, as they were now the only game in town.  But, because so many of them were brand new, they were far more reliant upon what they had ready for their launch dates, which in the beginning was not that much.  Unlike Netflix which had the benefit of building up their library of originals over an extended period of time, these newly launched streaming platforms had to knock it out of the park right away.  Considering that the original plan for many of these new streamers was to gradually build up their exclusives over the first few years, their new pandemic effected time table suddenly becoming accelerated put a heavy amount of pressure on each of them to perform more strongly.  Projects that were supposed to be held for later suddenly had their releases moved up.  Movies that were originally meant for theaters now had to shift to streaming, despite promises made to theaters.  It was all a desperate jumble to ensure that investors would be happy with the performance of the streaming platforms and to show that Hollywood was filling in the vacuum of a pandemic stricken market.  Initially it looked like streaming would be the savior of the industry, though it wasn’t a universal result for everyone.  Disney+ benefitted from buzzworthy content on their platform like the Mandalorian series.  Universal’s Peacock and Warner Brothers’ HBO Max inherited the binge worthy shows of The Office and Friends respectively that were huge hits on Netflix.  But, little upstart Quibi failed to launch and quickly fizzled out before the pandemic year of 2020 was even over, complete with a huge shortfall of their billion dollar investment.  Though the shift during the pandemic was beneficial for the time, it would create bigger problems down the road.

Once the world began to re-open again post-pandemic, the theatrical business began to show signs of life again, and as a result, streaming faced renewed competition that it hadn’t dealt with in over a year.  And this led to some not so well thought out plans in order to keep the growth of streaming going.  Perhaps the biggest blunder of this period in time was the plan by Warner Brothers to release their entire 2021 theatrical slate day and date on streaming and in theaters.  This might have been wise for say some of their smaller films that would’ve struggled at the box office anyway during the post-pandemic days, but no, Warner Brothers was doing this with all of their blockbuster films too.  What ended up happening was all of their films in that year underperformed at the box office, including the Oscar-winning Dune (2021), which resulted in Warner Brothers having one of it’s worst financial years ever.  It’s primarily the reason why the executive who came up with the idea, Jason Kilar, is no longer with the company and it probably accelerated the eventual merger with Discovery the following year.  But, they were not the only company to make questionable decisions post pandemic.  Disney themselves continued to move projects to streaming despite them originally being intended for theatrical, which in turn affected the way that their audiences watched their films.  Pixar Animation, one of Disney’s vanguard brands, had three of their films in a row released straight to streaming; Soul (2020), Luca (2021), and Turning Red (2022).  You could make an argument for the first two, but Turning Red was planned for release at a time when movie theaters were fully open.  There was no logical reason for that movie to get short-changed like it did, as movies like The Batman (2022) were doing quite well at the box office at the time.  As a result, Disney Animation in general has failed to light up the box office in the same way it used to, while other studios like Illumination Animation is enjoying record breaking profits from the likes of the Minions and Super Mario.  This is a sign that the need for aggressively building up the streaming market is negatively affecting the industry’s performance in other departments.

The big problem with so many of these studios in the streaming wars is their belief that they have to keep “feeding the beast” as it were to survive in this new streaming based battlefield.  Netflix has grown to the point where they can release a new original film or series every week in the year.  The studios, not to be outdone, want their platforms to have that kind of output as well.  So, the studios have invested billions of dollars into content in order to keep pace with Netflix’s output.  This unfortunately has consequences of it’s own.  One is the loss of quality control.  The movie studios over the last couple years have spread themselves a little thin in order to both satisfy their theatrical output as well as their streaming.  Divisions within the studios are struggling to keep up with that amount of demand.  Take Marvel Studios for example, who have been one of the prestige brands gracing the line-up on Disney+.  Many have pointed out that the shows and movies of the most recent phases of the Marvel Cinematic Universe don’t feel as cohesive as they were before the launch of Disney+.  Some have speculated that because Marvel Studio chief Kevin Feige has had his workload doubled because of streaming that he is unable to have the same quality control over each project like he had before.  Whereas prior to the launch of Disney+, every Marvel project was a big collaboration towards a singular goal.  Now, those communications feel broken and the MCU is now a bit rudderless, despite there still being bright spots (Wandavision, Loki, Wakanda Forever).  The need to continually fuel the fires of the streaming wars is in turn leading to a lessening of an impact for each project.  Nothing feels special like it used to; it’s just another item on the menu.  And that doesn’t bode well for the long term health of these brands that the studios need to keep valuable.

And then of course comes the cost.  In order to keep the output going at that pace, billions of dollars need to be spent.  It takes thousands of creative talent to make these shows and movies happen, and keeping that many people employed is expensive.  One looming problem remains hanging over the heads of the studios that are going so all-in with this streaming revolution.  There are only so many people out there that are willing to pay month after month for streaming content.  Even Netflix found themselves hitting a wall at some point, and their unexpected loss of subscribers a couple years back sent shivers across the whole industry.  Netflix’s exceptional growth in the 2010’s was due to they had a huge head start and were able to dominate a market that was mostly theirs all alone.  With increased competition now, the subscriber base is more discerning about what they are willing to pay for.  Few people can afford to subscribe to every platform, so it becomes about being good enough to be favored above the rest.  Some streaming platforms are not going to get the crossover attention that others do.  So, not only are the streamers in competition for attention from subscribers, but they have to continually reinforce their content in order to justify the need to spend $15 a month on their platform.  This is causing all these streaming platforms to turn into money pits with an unreliable generator of income to offset that investment in spending.  So, the studios are reassessing where their money should be going with regards to supporting their streaming output.  This is the reason why since the beginning of the streaming wars you’ve seen so many shows get cancelled after one season orders.  Even worse, these shows are being pulled off the service altogether in order for the studios to collect tax write-offs for the expense of making them.  And all because they weren’t buzz-worthy enough to increase the count of new subscribers.  This is sadly creating a whole new collection of what is considered “lost media” as none of these deleted movies or shows received physical media releases.  They are just gone forever, because the studios can no longer make any money off of them unless they forfeit that tax credit.

So, the streaming revolution, which looked like the next big thing in the world of entertainment, is not shaping out to be what we all thought it would be.  The studios in Hollywood are now feeling the pinch, as their billions of dollars in investment has only resulted in modest results for their streaming business.  Not only that, but the up-ending of their business model has disrupted all of the other markets that had been the backbone of the industry for decades.  Theatrical and Home Video have suffered with the competition, and it’s uncertain if they may be able to bounce back to what they used to be; though theatrical has seen hopeful signs as post-pandemic audiences seem eager to leave the confines of their home once again.  Also, the uncertain geometrics that the streaming business measure their success by is causing a lot of people out there to question the true benefit that streaming has provided for the industry.  That’s one of the reasons why so many labor unions are pushing back on the studios right now, because they want to ensure that they are being fairly compensated for the extra work that is being done to build up the catalogs for these streaming platforms.  The biggest bone of contention is that residuals have remained at pre-streaming levels, but the unions have no insight into the actual viewership numbers that streaming content generates, which is crucial to determining the fair amount, which leads many to believe that the studios are purposely using streaming as a way to undercut them.  Visual effects workers, many of whom have been overworked and underpaid for a long time due to the glut of projects need to be worked on for streaming, are also pushing back and unionizing as a result.  What seemed like a blue sky promise for a Golden Age of filmmaking has turned into a perfect storm of messy missteps by the studios, an underwhelmed audience base, and a resentful, overworked labor force demanding a change.  Streaming will indeed need to take some time to readjust itself.  One thing the studios need to do is to slow down and emphasize quality over quantity.  Even Netflix is taking things more slowly now.  They also need to be serious about negotiating a fair deal with their creatives, because they are going to be essential for the future of this process.  Streaming may yet prove to be a crucial arm of the industry, but it needs to evolve from the wild, untamed beast that it is now into something that can be a sustainable medium for the industry going forward, and that might mean being something much less than we all thought it was going to be.

When people were giving their predictions for how the Summer 2023 box office race would go, I don’t think that many had this scenario playing out on their radar.  Warner Brothers’ Barbie and Universal Studios’ Oppenheimer not only beat expectations, they together combined to produce the one of the biggest theatrical weekends ever upon their openings in mid July.  And not only did they both start strong, they have shown strong legs at the box office week after week.  As of this writing, Barbie should have grossed by now over $600 million domestically and $1.3 billion worldwide, while Oppenheimer stands at a not to shabby $300 million domestic and $800 million worldwide.  That’s exceptional for both films, but it is confounding the whole industry, because these were not the kinds of movies that should be putting up these kinds of numbers.  For the last decade, brands like Marvel, Star Wars, Fast and the Furious and Transformers have been the ones that have populated the billion dollar club.  But, in a year where those same franchise have submitted their own entries into this year’s box office race, it’s these two unlikely films that have managed to dominate.  It’s just such an unexpected outcome, and it’s making executives and analysts re-consider if all of their box office data from the last decade is all wrong.  You’ve got a meta feminist satirical comedy centered around a toy doll and a three hour long, talky biopic about the inventor of the atomic bomb, and they are performing better at the box office than Indiana Jones, Mission: Impossible and Fast and the Furious; and not just by a little, by a lot.  There are so many factors that went into the phenomenon that is “Barbenheimer,” but the whole outcome is also revelatory of all of the continuing problems that are plaguing Hollywood today, and that the success of the two movies are shining a spotlight on what needs fixing to help bring the box office back to where it should be.

It helps to know how the whole “Barbenheimer” thing got started in the first place.  Both Barbie and Oppenheimer were set for Summer 2023 releases, but people took notice when the individual studios behind the movies planted their flag on the same exact date; July 21, 2023.  The disparity between the titles couldn’t be more night and day.  Barbie was awash in bright colors and it’s sense of humor was broad and cartoonish.  Oppenheimer by contrast was muted and heavy and very serious in tone.  People on social media began to poke fun at the yin and yang differences between the two films, making bets on which one will give up their post on the release date first.  To a lot of people’s surprise, neither film budged, which led a lot of box office analysts to believe that this kind of counter-programming would end up canceling both films out.  That’s why advance box office predictions for both films remained on the low end for much of the summer.  But social media wasn’t overlooking the two films.  If anything, there was anticipation rising.  Suddenly, there were two rival camps rising up in internet circles representing Team Barbie or Team Oppenheimer.  The speculation about who was going to be the champion of this opening weekend began to grow into something viral.  Memes were shared, slogans were prepared.  And then the viral movement evolved into something different entirely.  The different factions decided that they were going to join forces and turn the opening of both films into an event of it’s own.  No longer were people rooting for one film over the other, but instead they were going to support both films together.  There was a healthy chunk of people who were even committed to watching both movies back to back in one night.  Once opening weekend approached, the studios were shocked to see that their modest predictions for these two movies were going to be completely blown up.

What became known as Barbenheimer was a completely grass-roots effort that blossomed at just the right moment.  Neither Warner Brothers nor Universal had a hand in creating this phenomenon in their marketing.  Their best decision was to not get involved at all; allowing the grass roots movement of Barbenheimer to flourish on it’s own.  They of course were the big beneficiaries of all of this, achieving record breaking box office as a result, which was especially needed for Warner Brothers who have otherwise had a terrible year at the box office.  But, the fact that the grass roots effort culminated in such a success for the two films is something that absolutely should challenge the common wisdom that the industry has relied upon for quite a long while now.  Coming out of the pandemic, Hollywood has been struggling to figure out how to bring audiences back to the theaters in the same kind of numbers that they did before the outbreak.  Unfortunately, a lot of the executives believed that business would return to normal like it had been before and that the same kind of movies released in the past decade would be the ones to save the box office.  This was true with a handful of cases (Spider-Man: No Way Home, Avatar: The Way of Water), but the overall box office performances for many films were just not reaching the levels they had in the past.  What seems to have lit the fire of “Barbenheimer” was a feeling amongst audiences that they wanted something that was worth rushing out to the theater for; something that couldn’t be replicated in home viewing.  So, in the absence of such an event at the box office, audiences instead created one itself.  The peculiarity of the Barbie and Oppenheimer counter-programming made it something that audiences had to see for themselves, and that’s why the opening weekend of those movies ended up being so huge.  Hollywood had been denying audiences a worthwhile experience, so something had to fill that void and that’s why the phenomenon happened.  This makes “Barbenheimer” such a game changer because it’s the clearest example yet of an audience driven statement for the rest of the industry.

To the individual films’ credit, they managed to hold onto those audiences beyond the opening weekend.  The two films are both critically acclaimed and beloved by fans, so even though a meme generated online movement worked to inflate opening weekend  numbers, it was thankfully for two films that were strong enough to maintain those captured audiences.  I’ve already talked about Oppenheimer in my review here but it’s still pretty incredible to see it have the box office stamina that it has.  It’s been a while since a three hour film that was not part of a franchise and is a historical drama has made this kind of money at the box office.  You’d have to go back decades to find any movie that had the kind of box office performance that it has had.  It is a Christopher Nolan film to be sure, but Oppenheimer is the least action packed movie that the director has ever made.  It’s a film that builds tension to be sure, but it still sticks to the kind of genre trappings that historical biopics usually have, which is a lot of talking in small rooms.  And yet, it’s performing even better than Nolan’s more bombastic films.  It helps that it’s clutched to the coattails of Barbie by virtue of it being counter-programming.  There was little doubt that PG-13 rated Barbie would have the bigger box office, but given the resulting numbers that came in, it seemed like Barbie also was boosted by Oppenheimer’s presence and vice versa.  Barbie itself is definitely not the kind of movie that should have this result at the box office either.  Director Greta Gerwig is not a filmmaker you would associate with billion dollar movies.  Her first two films, Lady Bird (2017) and Little Women (2019) did pretty well at the box office, with Little Women getting an awards season boost to a $108 million gross.  Even still, Warner Brothers was gambling giving this possible franchise builder to a filmmaker with just indie cred.  But, Gerwig’s outsider sensibilities gave Barbie exactly what it needed to stand out.  By tackling some meaty issues like feminism and social hierarchies within this film centered around an iconic brand, Greta made a movie that transcended it’s name brand and appealed to audiences through it’s unique voice.  For both Barbie and Oppenheimer to succeed like they are, it’s making a huge statement for films that are distinctly filmmaker driven.

Which gets to how the “Barbenheimer” phenomenon is exposing some of the problems that have plagued the movie studios recently.  The fact that two filmmaker driven films are dominating the box office puts the pressure on the studios who are currently at odds with their talent as both the writers and actors continue their ongoing strike.  Sure, the box office numbers are good now, but with the strike continuing to put a halt on all productions, there’s not much the studios can do to capitalize on the success of these movies.  Both Christopher Nolan and Greta Gerwig, who are members of the Writer’s Guild of America, are on those picket lines too, refusing work in solidarity with their fellow creatives.  As a result, neither them nor the studios can strike while the iron is hot with this “Barbenheimer” moment.  Certainly Christopher Nolan and Greta Gerwig can survive on the strength of their names alone and they’ll be highly coveted creatives once the strike is over.  But they know that it’s more important to stand with the rest of their communities and not put any work yet into their next projects, which puts all the pressure on their studios.  They are collecting the strong box office now, but it’s the long term success that they are jeopardizing by refusing to give the unions what they want.  And “Barbenheimer” marks a strong transition point in the industry, where audiences are making it known that they’d like more movies like these two instead of the movies that Hollywood thought that audiences wanted.  So, with the inability to pivot because all of their talent is on strike, the studios are slowly realizing that they are letting a prime opportunity slip away, and that it is something that they can’t get back unless they swallow their pride and meet the demands of the writers and directors.  Barbie and Oppenheimer are showing the industry the powerful box office effect of movies succeeding because of the clear sighted visions of their filmmakers, and that audiences want films that are unique within their own voice.

One of the other things that “Barbenheimer” has shined a light on is the growing sense of franchise fatigue that is setting in amongst audiences.  People for a long time have been complaining that Hollywood is out of ideas and that they are over reliant on franchise power to drive box office.  That feeling of fatigue is now starting to set in for the vast majority of film goers now, as the Summer of 2023 has been littered with one disappointment after another.  Mainstays like Indiana Jones, Mission: Impossible, Fast and the Furious, and even mighty Marvel all saw diminished box office despite a huge amount of hype leading into this Summer season.  In the the last decade, these franchises were all sure fire winners, and for a lot of people it looked they were going to perform on par with their averages.  With Covid now in the rear-view mirror, and no restrictions in place to affect ticket sales, this should have been a record-setting Summer.  But it never materialized; at least not as predicted.  Guardians of the Galaxy Vol. 3 did about as well as expected, but didn’t over perform.  Indiana Jones and the Dial of Destiny, Fast X, and Mission: Impossible – Dead Reckoning Part One would have had decent box office numbers if their astronomical budgets weren’t so high.  And the less said about The Flash, the better.  Audiences made their voices clear; they just weren’t interested in these old franchises anymore.  That’s why Barbie and Oppenheimer stood out so much; they were refreshingly new; not bound by deep lore or multi-year cinematic universes, just easy to digest singular stories told very well.  This is another reason why the ongoing stalemate with the studios and the unions is going to make things difficult for the future of Hollywood.  What has been working in the past no longer applies.  There is an appetite now for new things and the ability to coast on franchise power is waning.

At the same time, it should be understood by everyone in Hollywood; you can’t manufacture a phenomenon like “Barbenheimer.”  This thing grew up in spite of the goings on within the industry, built completely by the fans themselves.  There certainly have been attempts to campaign for a film with viral marketing, but “Barbenheimer” wasn’t manufactured out of some publicity department.  It started as a joke, and the fact that it grew into the movement that it became was more of an organic reaction to all of the things I discussed above.  These movies became a success because audiences chose to make them a success.  They wanted an event to get them excited, and to everyone’s delight what started off as a silly internet game became a moment where we actually appreciated the theatrical experience again.  That’s probably what is at the heart of Hollywood’s troubles; they’ve lost the ability to make movies feel special.  The over abundance of franchises diluted what had made the original movies special in the first place.  The diversity of films has also diminished, as the market is now flooded with super hero films and explosive action movies (the ones that produce a big opening weekend) while other genres like romance and comedy have been exiled to streaming.   Gone are the days when something unbound to a known franchise name like Forrest Gump (1994) or There’s Something About Mary (1998) could open strong and then just stick around week after week for a full season.  Barbie and Oppenheimer are anomalies to be sure in this landscape, but they are not unusual in the whole history of Hollywood.  In the Golden Days of the industry, movies were events that people used to line up around the corner for.  The early days of Star Wars saw people dressing up as their favorite characters as a way of participating in magic of the event itself.  Is that any different from all the people wearing pink to the multiplex when they are seeing Barbie?  “Barbenheimer” is filling a void, and Hollywood needs to reconcile with why that void exists in the first place.

I knew this thing was going to be something big the moment that I saw someone wear a custom made Barbie and Oppenheimer T-Shirt to the screening of Barbie that I was attending; featuring both movie posters cut right down the middle like one of those custom divided loyalty jerseys you see at sports games.  That’s a level of commitment to a movement that I realized was much more powerful than the silly internet game that it started as.  “Barbenheimer” was a real deal moment that people just had to be there for.  And remarkably, it continued on through the rest of the summer and has not dissipated yet.  This is the magical element that the movie theater experience has lost not just through the Covid years, but over the last decade as well.  The ability to make the movies feel like a communal experience worth having again.  I felt like I was missing out on opening night being one of only a handful in the theater not wearing pink for Barbie.  Sure, there was going to be a flash in the pan outcome once both films made it to theaters because of all the viral excitement that was built up, but the fact that the movies turned out to both be very good and re-watchable shows that it is important for the theatrical ecosystem to have unique, creative movies with their own voice be integral to the future plans of Hollywood.  Which means, Hollywood needs to treat their talent with respect, because filmmakers and actors who are fairly compensated will be better able to repeat this kind of success in the future.  And it shows that nothing beats the movie going experience when it’s something worthwhile to see.  Even with this strike still lagging on, it’s important to support your local theater, as they are also affected by the on-going strike and they need us the audience to continue returning.  “Barbenheimer” was a godsend for theaters everywhere, and it’s up to us to convince Hollywood that we want them to make movies special again, and not just an endless stream of product.  Barbie and Oppenheimer showed that one film didn’t have to stand out as special amongst the rest, but in fact any film big and small could flourish together and lift up the theatrical experience as a whole.  These two were an odd pair, but audiences found that opposites do attract and that by giving both of them our love it helped change the movies for the better.

As a society, we the audience have been overwhelmed with an abundance of entertainment over the last few years.  The streaming revolution of the 2010’s began a flurry of investment in new tv shows and movies on a scale unseen before.  While it was fortuitous for us the consumers, who were witnessing what we saw as a Golden Age of Television and a mega-blockbuster period at the box office, all of this unfortunately came at a cost.  The talent behind these shows were working doubly hard to meet the high demand of the new order of things in Hollywood, with streaming becoming the newest platform for distribution, but they were doing so under an outdated compensation standard.  Contracts for all the actors, writers and directors over the last decade have been made under the standard that was set after the 2007-08 Writers’ Strike, which had an ill-defined definition of what streaming content would be.  Back in 2007, YouTube was still in it’s infancy and Netflix was still sending out disc rentals in the mail.  What we know now as streaming wasn’t even on Hollywood’s radar at the time, so the deal made to end the writers strike in 2008 was based on the idea that internet based entertainment was experimental and work done on the platform by Guild talent needed to be compensated differently from the model of residuals for television and home video.  Since then, the streaming platforms, which have grown to become a major part of the Hollywood ecosystem in the 15 years since, have exploited this outdated system of compensation, paying their talent a fraction of what they normally would get through the old residual model for television and yet they were expecting the same talent to work double time to meet the high demand for new content on their platforms.  Of course, the Guild recognize this is a problem and they are now exercising their right to demand a new deal.

The Writers’ Guild of America (WGA) made the first move at the start of this summer, initiating a strike for the first time since the monumental 2007-08 strike.  While the original strike 15 years ago was rough on the industry and ultimately fruitless, this strike has been much differently received, not just within the Hollywood community but on the national stage as well.  The vote to authorize this strike was approved by near unanimous consent in a vote by both wings of the Guild, and without an eleventh hour deal struck by May 1st of this year, the strike would proceed with all members stopping work.  Now, the immediate effect may not have been felt too far and wide in the industry, at least to the outside consumer.  Movie deals made before the strike would continue.  Movie premieres would go on as scheduled.  The only noticeable immediate effect was the abrupt halt on production of daily and weekly talk shows on television (your Jimmy Kimmels, your Steven Colberts, you Drew Barrymores, your Saturday Night Live’s, etc.)  But, the longer the strike runs, the more projects in the pipeline for the studios dries up, and at this point, it becomes a waiting game to see who feels the pinch first; the writers or the studios.  Thankfully for the WGA, the widespread support from across the industry has been tremendous.  One thing that the WGA has this time around that they didn’t in the last strike was the backing of not just the other Hollywood Guilds, but also the Teamsters and IATSE unions that provide the crews for so many productions in the industry.  These incredibly powerful unions have pledged to not cross any picket lines on productions that have not received a waiver from any of the Hollywood guilds, which helps the WGA union out greatly with putting the pressure on the studios.

The WGA also received another boost this last month as they were joined on the picket lines by The Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA).  The 160,000 member strong guild has comparatively much bigger pull over the industry than the 25,000 in the DGA, and having them marching alongside the writers for the same cause at this crucial time is a big deal.  Hollywood hasn’t seen a double strike like this since 1960, when SAG and the WGA fought to get residual compensation from the then burgeoning industry of television.  Ironically, the SAG strike at that time was led by their then president Ronald Reagan, who in later years would become a notoriously anti-union President of the United States.  This time around, actress Fran Drescher of The Nanny fame is leading the charge against the studios, and her resolve to get a fair deal for her union thus far seems to be genuine and passionate.  One thing that the two unions have done well so far is taking control of the narrative of the strike.  Utilizing social media to spread the message (something that they didn’t quite have to their benefit during the last strike), both the actors and writers have made their case very well to the public at large.  One of the smartest moves has been for the individual members of the guilds to post on their social media pages an image of their most recent residual checks that they receive for their work on some of the biggest shows and movies on streaming, and spotlight just how little they are actually getting paid for their hard work.  This is to counter the typical argument made by the arbiters of the studio side of the negotiations, the Alliance of Motion Picture and Television Producers (AMPTP), that the Guild members are rich ungrateful prima donnas; essentially millionaires fighting against billionaires.  The idea that this fight is to make the already wealthy even wealthier is absurd, as the vast majority of Guild members would be considered working class, and these social media posts of the residual checks are a great way of showing that they are indeed paid much lower than you would expect.

The AMPTP has tried in vain to paint this strike as a ploy for publicity for the elites, and as a result they have foolishly shown their hand in the game.  Disney CEO Bob Iger made a huge mistake early on in the strike by publicly calling the guild demands unreasonable; a statement that resulted in the Guild becoming even more emboldened.  Another anonymous member of the AMPTP also was exposed by a statement where he or she said that the aim was to see the Writers and Actors loose their homes and Apartments before they would be willing to negotiate.  This rather ruthless statement was probably put out there to strike fear in the other Guilds to prevent them from striking out of concern that it would ruin their careers, but the opposite effect actually occurred; solidarity is stronger than ever.  There is concern about how long each side can endure, however, because the longer that the two side refuse to negotiate, the more it puts pressure on the rest of the movie industry as well as all of the other industries that rely upon them.  Movie theaters, which have been on shaky ground since the end of Covid, were hoping a return to normal business would’ve occurred by now, and instead they are anticipating another round of movie release delays and fewer films to fill their screens.  And there are of course the local economies that depend on having their populations of guild members receiving steady income to help boost their local businesses.  With the two sides at a standstill, it may come down to the state and local governments to intercede to help mediate a fair deal.  The 2007-08 Writers Strike cost the California economy billions of dollars, and that’s something that the government and tax payers across the southland don’t need right now.

So, what is the thing that has caused the stalemate in this season of striking.  The primary sticking point would seem to be the residual part.  Residuals are an extended payments to people who worked on a film or television series based on the re-airings of those programs after their initial release.  If a show like Friends gets to play multiple times in re-runs on a variety of different stations, the cast and crew of that show will get a piece of the profits made from that re-airings, based on the frequency of airings and the percentage that was agreed upon in their contracts.  This was a revolutionary deal made after the 1960, which insured that no actor or writer would lose out on the extra money that was being made off of their work long after it was complete.  This helped to make both acting and writing a lucrative profession that could help support a robust work force in Hollywood with strong living wages.  Then, alone came streaming.  Streaming for the most part has been exempt from the residual standards made after the last deal in the pre-streaming era.  Because the income for streamers is subscription based, the money made is not based on things that had become industry standards before like total viewership and ad revenue.  Instead, the total viewership on streaming has been kept a closely guarded secret, which some believe has been the streamers way of exploiting a residual loophole.  The disparity of what the actors and writers make in residuals versus how the shows are performing is becoming very apparent.  Actress Kimiko Glenn spoke about her experience of overhearing Netflix CEO Ted Sarandos gloating about the high viewership of a show she was on called Orange is the New Black (which according to Sarandos was being watched more than Game of Thrones on HBO) and yet she was not seeing any of that success reflected in her residuals for the show.  From what we are hearing from the Actors and Writers on strike, it is much more the streaming side of the AMPTP that has refused to budge when it comes to the residual side of the contracts, because to meet the Guilds’ demands would be opening themselves up to more transparency on the actual viewership numbers of their programs, which I don’t think they are keen on exposing.

One other troubling aspect is how the studios are abusing the hard work that has been put into these movie and shows in the streaming era.  As stated before, the industry has been operating under contracts made with the Guilds that pre-date the standards of streaming.  As a result, the different studios have been able to undermine Guild guidelines under the definition of this being “new media,” therefore able to be more flexible when it comes to staffing and compensation.  When streaming was more experimental and something of a start-up, this was more acceptable under the standards set by the Guilds, but now that streaming has grown to encompass nearly half of all the theatrical and television markets, upending the previously recognized network and cable package standards, it can no longer be acceptable to call streaming a start-up.  Almost every studio has jumped on board the streaming craze, with Disney, Warner Brothers, Universal, and Paramount all launching their own platforms in the last five years, competing with mega-corporate competitors like Amazon, Netflix and Apple.  Sure, this has led to an insane amount of new movies and shows to watch in that time, but at the same time, the studios are also exploiting the work of their creative talent in order to meet that high demand.  This includes the elimination of extensive writers rooms that helped to deliver quality scripts in a timely manner.  Now, the streamers are favoring what is called “mini-rooms” which is the practice of having big shows made with fewer writers.  If you’ve noticed a lower standard of writing on many streaming shows in recent years, this is a direct result of these small teams of writers being stretched too thin.  In some cases, entire seasons are now being written by a mere handful or even just one writer, which is not helpful in creating a well-balanced show.  But even more troubling for creatives in the industry is that because of streaming being a digital based distribution model, the studios have more control over the lifespan of a film or show put on their platform.  If the movie or show doesn’t perform well, the studio can choose to pull it off the platform completely and collect a tax write off for the loss.  If the media didn’t get a physical copy release to coincide along with their streaming premiere, then that program is just gone, because in order to get that tax write off, the studio cannot profit off of it ever again.  We are now seeing a disturbing rise in what is called “lost media” and it should anger the creatives in the business that the studios are cashing in by eliminating their hard work from existence.

And then of course there is the increasing existential threat that is hanging over the heads of creatives on all sides of Hollywood; the rise of AI technology in filmmaking.  While AI hasn’t quite reached the level of creating a whole movie or show whole cloth out of nothing, the emergence of AI platforms like ChatGPT which can replicate informative text based on user prompts has rightfully raised concerns amongst many creatives in Hollywood.  Like most unionized industries, the WGA and SAG-AFTRA are concerned that Hollywood will someday replace man power with robots and computers, and that that day is coming sooner rather than later.  If “mini-rooms” was a concerning result of the streaming era, than the threat of AI eliminating writers rooms altogether is even more alarming.  One argument that the writers do have in their arsenal against this is that while platforms like ChatGPT can produce a lot of text very quickly, it can’t create something new.  It is basically advanced plagiarism; scouring the vast amount of information on the internet to form something resembling a new script, but is really just a jigsaw puzzle of things that have already been written.  One of the best picket line signs that went viral on the internet at the start of the strike read “ChatGPT does not have childhood trauma,” which is a good way of stating that AI cannot replicate the lived in experience that writers put into their own work.  Sure, Hollywood can just keep repeating old and tired gimmicks ad nauseum and AI would help churn those projects out quickly, but what really keeps the industry going are new and surprising things.  Could AI create something like the Oscar-winning Everything Everywhere All at Once (2022)?  I doubt it.  The threat of AI also extends to the concerns of SAG-AFTRA too.  It’s been discovered that some background actors in the Guild had been offered a fee to have their likeness scanned into a database and then the studios that own those scans could use them in perpetuity in whatever they want without the consent of the actor to decide what it’s used for.  This is a disturbing abuse of technology to move more creatives out of the process of filmmaking, and making it more possible for studios to have their entire creative output become more automated.  The Guilds are rightfully using this opportunity while this technology is still in it’s infancy to put up guard rails and ensure that the studios do not misuse this technology, and more importantly, ensure that ordinary actors and writers have the power to consent to how this technology based on their input is used.

Much more than perhaps any other strike to hit Hollywood, this one represents an inflection point that will determine the future of what the movie industry will be for generations to come.  This is much more important than pay raises; this is about preserving the ability to make filmmaking a career pursuit worth striving for.  People want to be in the movie-making business because they are story tellers and have been inspired by the films and television shows that ignited their creative flames.  But, the way that the streaming era has upended the previously agreed upon standards of the industry, we see a Hollywood that seems less concerned about pleasing their creatives and their audience, and more concerned about pleasing their shareholders.  The streaming wars have grown into this unsustainable arms race to have the most robust subscriber base in the market, while at the same time undercutting the compensation for the creatives that worked hard to deliver this glut of new content for the streamers in order to keep costs down.  The Guilds are rightly raising the alarm and showing that they are increasingly being pushed out of the creative process as studios are driving the creative decisions more and more, and even looking to AI technology to eliminate the human factor altogether.  It’s become less about what stream has the best shows and movies and more about who has the most.  The studios have felt the strain as well, as the Big Five studios are all seeing their investments into streaming turning into a money pit, while the mega-corporate giants like Apple and Amazon can endure the strain of this increased competition longer.  Those streamers as we learned are the big holdouts and it’s likely that the executive who was cheering on the financial woes of the striking writers and actors probably came from from one of them.  What matters now is that the WGA and SAG-AFTRA continue to stay strong in solidarity.  The WGA strike is now over 100 days old and the SAG-AFTRA is over 20, and the studios are no closer to getting the unions to their breaking point.  In fact, support has only increased.  The picketers are braving a heat wave here in California, and their spirits have not been deterred.  Hopefully, for everyone’s sake, a fair deal is reached soon and that it will hopefully lead to a brighter future for the industry.  SAG-AFTRA and WGA Strong!!!