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fans4wga · 11 months

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"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."

#sag-aftra strike #sag strike #fans4wga #writers guild strike #actors guild strike #union solidarity #wga strong #i stand with the wga #wga strike #writers strike

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nai-nyeartwork · 3 months

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The AU you have where Vox is the vintage one and Alastor the modern one has been living in my head rent free. I can’t stop thinking about Vox being all bouncy and cartoony (definitely like you said, Roger Rabbit) and having very cartoon-esque physics and power base. Or Alastor still being radio but very much modern and staying ahead of the game. If you are willing and have any time to indulge me, I would love love love to hear more about your AU!!!

Hey! I'm happy you like this AU. I wish I had more time to explore or write a proper story for it since I have too many ideas for it. For this AU, Vox can upgrade himself to how he normally appears in the show but he honestly prefers staying like a cartoon demon since he thinks he is more powerful in that form. Like breaking the 4th wall and using cartoon logic to mess up hell's landscape/ other demons. When he does switch TV heads, because his retro TV got busted or needs to try a different attack, his powers will changed based on the type of media or how advanced the technology is. I keep thinking he secretly doesn't want Alastor to see him differently than his normal retro look since Vox knows how the Radio demon feels about technology. Since it sort of like a swap AU, Vox has two thralls, Valentino and Velvette instead of forming an alliance with them. He tricked Val into signing a contract with him when the moth demon was struggling with his porn studio or had problems with the shark mafia. While Velvette tried to confront Alastor and Vox to be the new overlord media but lost against Vox. He kept her around since she seemed useful and would call on her more than Val when it came to promoting his or Alastor's broadcasts. Vox still lets his thralls try to make their own business but constantly demands their assistance for random dangerous schemes. If the Vees oppose or try to avoid Vox, then he will control them like puppets with his inky cable wires. The Vees are up to date with hells society even using advanced technology thanks to Alastor, but because they are under contract their appearance remains the way they arrived to hell? Or like vintage animation style? Like Val’s appearance has 70s archie animation/comic style while Velvet's is more 80s lolita anime (kinda like Perfect Blue). Meanwhile, Alastor still befriends Rosie who also has to catch up with the time. He often promotes her business since Rosie's cannibal town has become more like a meat/food factory. Rosie often repurposes any meat, scales, teeth, and angel feathers/blood to sell at her cannibal markets.

Husker stays as an overlord but owes a favor to the Media Overlords, and often plays host to them whenever they visit his casino. I was gonna make Niffty an overlord too but I haven't decided what type she would be or just be Alastor's assistant.

I kind of want Vox to help the Hazbin Hotel and Charlie (if I don't change her and the other hazbin residents roles too much). He wants to help the hotel because Vox's end game would be controlling them. Alastor only offers to help the hotel when Vox asks him to otherwise he doesn't bother to interact with the other residents or with Charlie since he has a podcast to run.

As for Vox and Alastor's relationship, they can be very professional in front of strangers/public while with associates/friends they get a little affectionate. They are on guard constantly and only trust each other since they are media demons. In private, they are very vulnerable and give each other a lot of aftercare. Or try to have a few mental breaks from upholding an image to the public. Like Vox has a whole-ass aftercare routine when Alastor is stressed and doesn't want to listen to demons due to his radio abilities. He even mutes himself and plays silent films while Alastor hides under a blanket with noise-cancelling headphones on. And when Vox destroys or needs to repair his TV head, Alastor always makes sure to have spare parts and tools on hand to assist him. He is used to repairing Vox and acting like a doctor for him.

They have been together for so long in hell, they lose their shit if the other overlord gets hurt or someone tries to take them away since in their eyes no one else compares.

And that's all I have folks!

#staticradio #radiostatic #staticlovetune #swap au #I might call it retroswing au #I don't know

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hwaightme · 1 year

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"Your fan, _____" Series Masterlist

Hello there <3 welcome to the mini masterlist for this series! All works collected here are around the theme of what would each member be like as your fan and how that develops into a heart-fluttering romance! In general, the bullet-style fics are sfw, fem!reader unless stated otherwise, and done in two parts. Below the cut you will find the general disclaimers as well as additional information for each member, and links to the fics! Happy reading, and any and all likes, reblogs and asks are always welcome, thank you so much <3

Suggested order: Jongho, Yunho, Mingi, Wooyoung, Hongjoong, Yeosang, San, Seonghwa

GENERAL DISCLAIMERS:

These works are fictional and for entertainment purposes only, and do not reflect the people mentioned in them as individuals.

All works and moodboards have been created by me, and reposting is strictly prohibited.

Themes covered may be triggering for certain audiences and/or inappropriate for minors. This is why I keep the body of the works below the cut, and try my best to do extensive tagging and warnings. If you see something that does not sit well with you, please dni, and if I missed a tag lmk immediately.

👘 Hongjoong: (part 1) (part 2)

pairing: hongjoong x fashion designer!reader warnings/tags: language, radio shows, reader is goth, goth subculture, a bit of mutual pining, seonghwa aries rage, san is sus, jealousy, DRAMA(rama), hongjoong is starstruck, reader has her own fashion house/brand, photoshoots, brand collabs, demon line boutta act up

🛸 Seonghwa: (part 1) (part 2)

pairing: seonghwa x nerdfluencer & physicist!reader warnings/tags: language, SCIENCE, astrophysics, may the force be with you, scientific formulas, lego obsession, yunho driving, hongjoong jealousy and fatigue, seonghwa just wants someone to be a nerd with

📺 Yeosang: (part 1) (part 2)

pairing: yeosang x talk show host!reader warnings/tags: language, yeosang lowkey writing fanfics, manhandling, wooyoung attacks, roommate gathering, mc yeosang, reader is a late night talk show host, exo and txt appearances, wooyoung has connections everywhere, yeosang always has a plan even when you think he doesn't

🎮 Yunho: (part 1) (part 2)

pairing: yunho x game developer!reader warnings/tags: language, reader is a dev, coding/gaming is life, wooyoung knows, yunho as a gaming enthusiast, introversion, social anxiety, implied depressive episode, business friend playing wingwoman, flirting in chat, reader is oblivious, yunho wants to be noticed, gaming dates, ateez have potential as twitch streamers, yeosang is a legend, mingi is best homie

🍰 Wooyoung: (part 1) (part 2)

pairing: wooyoung x baker!/cafeowner!reader warnings/tags: maybe language, a tad suggestive, ateez chaotic energy, wooyoung what are you watching boi, e-girls mention with yunho hints, time to vacuum the lawn to catch gossip, ateez wingmen, wooyoung falls fast, reader and wooyoung are both flirts, cooking, baking, mention of food/eating

🎤 Mingi: (part 1) (part 2)

pairing: mingi x rapper!reader warnings/tags: language, reader is an underground rapper, mingi is totally starstruk, producer hongjoong energy, activism, criticism of music industry, dark side of idol life, hongjoong-ah instead of hyung, yunho is supportive friend (TM), mingi being a rebel, sneaking out, potential rap battles incoming, reader with that mic drop

💬 San: (part 1) (part 2)

pairing: san x interpreter!reader warnings/tags: language, simping, hopeless romantic, linguistics, interpreter/translator reader, duo bird terrors, ateez wingman alliance, concerts, public speaking, job stress, slow burn, falling in love hard and fast

⚽ Jongho: (part 1) (part 2)

pairing: jongho x footballer!reader warnings/tags: jongho falling fast, you are a football prodigy, hongjoong lowkey is a wingman, jongho hiding feelings, sports, football, cute romance, overall wholesome vibes, jongho is an undercover athlete, yeosang seizes opportunity, hongjoong is in on the secrets, sports, football, cute romance, secret relationship, seriously in love, overall wholesome vibes

Your fan messages:

[ 1 ] - Jongho, Yunho

[ 2 ] - Wooyoung, Mingi

[ 3 ] - Hongjoong, Yeosang

[ 4 ] - San, Seonghwa

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feuervogel · 2 months

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Some selected quotations

In effect, German authorities took the position that support for Palestinians must be understood as support for indiscriminate violence against Israelis. Moreover, they explicitly adopted the view that calling for an end to the war necessarily equates to denying Israelis the right to defend themselves in the face of such attacks. Accordingly, just as explicitly pro-Palestinian protests were shut down, police often also suppressed calls for “ceasefire” or to “stop the war.” And in response to South Africa’s charge at the International Court of Justice that Israel is committing genocide in Gaza, the German government rushed to insist that this “accusation has no basis whatsoever,” and authorities within Germany have often treated the accusation as hate speech.

These politics of supporting Israel while demonizing migrants as the source of antisemitism in Germany unites the far right with the right, center, and significant parts of the left, twisting the crucial fight against bigotry into a legitimizing ideology for xenophobia. And when it ends up directly harming Jewish people, the absurdity is impossible to ignore.

German authorities have increasingly institutionalized this agenda, appointing “antisemitism commissioners” at all levels of government. As celebrated Russian-American Jewish writer Masha Gessen noted in a widely-circulated New Yorker essay published early November, most of these commissioners are not Jewish — but many of their targets are. Indeed, according to our documentation at Diaspora Alliance, almost a quarter of all known censorship and cancellation cases in 2023 had Jewish targets.

Read the whole thing.

Oh god I just got to this one, what the entire fuck

In response, German journalist Sebastian Engelbrecht took to national public radio to suggest that Germany itself is now being subjected to antisemitism by virtue of its support for Israel. Strike Germany, he argued, sought to “erase Germany from consciousness” in a manner akin to the historical effort to physically erase Jewish life.

#free palestine #german politics #absurdity

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barkingbonzo · 3 months

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Katharine Hepburn

Katharine Houghton Hepburn (May 12, 1907 – June 29, 2003) was an American actress whose career as a Hollywood leading lady spanned six decades. She was known for her headstrong independence, spirited personality, and outspokenness, cultivating a screen persona that matched this public image, and regularly playing strong-willed, sophisticated women. She worked in a varied range of genres, from screwball comedy to literary drama, and earned her various accolades, including four Academy Awards for Best Actress—a record for any performer. In 1999, Hepburn was named the greatest female star of classic Hollywood cinema by the American Film Institute.

Raised in Connecticut by wealthy, progressive parents, Hepburn began to act while at Bryn Mawr College. Favorable reviews of her work on Broadway brought her to the attention of Hollywood. Her early years in film brought her international fame, including an Academy Award for Best Actress for her third film, Morning Glory (1933), but this was followed by a series of commercial failures culminating in the critically lauded box office failure Bringing Up Baby (1938). Hepburn masterminded her comeback, buying out her contract with RKO Radio Pictures and acquiring the film rights to The Philadelphia Story, which she sold on the condition that she be the star. That comedy film was a box office success and landed her a third Academy Award nomination. In the 1940s, she was contracted to Metro-Goldwyn-Mayer, where her career focused on an alliance with Spencer Tracy. The screen partnership spanned 26 years and produced nine films.

Hepburn challenged herself in the latter half of her life as she tackled Shakespearean stage productions and a range of literary roles. She found a niche playing mature, independent, and sometimes unmarried women such as in The African Queen (1951), a persona the public embraced. Hepburn received three more Academy Awards for her performances in Guess Who's Coming to Dinner (1967), The Lion in Winter (1968), and On Golden Pond (1981). In the 1970s, she began appearing in television films, which later became her focus. She made her final screen appearance at the age of 87. After a period of inactivity and ill health, Hepburn died in 2003 at the age of 96

#portrait #katharine hepburn #smoking cigarette #girl smoking #smoking #actress

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skzhocomments · 4 months

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Mafia Book #2 - PART I - The Black Iris - Chapter 8 - The bad guy

Story masterlist - please consult it for the summary of the story, trigger warnings etc.

General masterlist

Wattpad | AO3

Chapter 7 | PART II - The Withered Rose

---

PART I - THE BLACK IRIS

Chapter 8 - The bad guy

chapter word count: 4k words

~10 hours before flying to Italy~

~Iris' POV~

"You finished packing?" Chris asked without raising his gaze from the newspaper in his hands. We were both in the kitchen; I was making a coffee, and he was waiting for everyone to come back from whichever errand they were on.

"Yea. All done. Why are you reading the newspaper?"

"Sometimes enemy gangs organise rebellions and form alliances by using keywords in the columns."

"No way!" I exclaimed.

"Yes way. Look, this one for example might sound normal to the general public."

He handed me the newspaper where a column was highlighted.

"Monthly gardeners meeting: Seeking passionate rose gardeners.

Would your heart bloom along the red roses? Would you find joy in discussing this passion among other gardeners?

If so, contact us at X5DK20 and inquire about our monthly meetings."

"This... makes no sense."

"It's the perfect advertisement. A person with no interest in gardening wouldn't even pay it any mind, let alone read it carefully enough to figure out it's a sham. Someone who would actually care about gardening would just call and they'd be told it's not available."

"But... what? I don't get it. How would you know...?"

"Why don't you give it a try?" He pointed to my mobile phone that was lying on the table screen down. "Call and see what they say."

I grabbed it reluctantly and dialled the number, and someone responded after a few rings.

"Hello, I saw an ad in the newspaper about a monthly gardeners meeting?"

"Yes, thank you for calling, could you please tell us the three most important roses for any garden?"

"Three most important roses?" I look at Chris, who just shrugged and chuckled.

"We are sorry ma'am. It appears all the spots for the meeting have been occupied. Thank you for your interest." And with that, they hung up.

"See?" Chris was still chuckling.

"I'm super confused right now."

"There used to be a powerful Mafia called The Scarlet Rose. They've been trying to revive it for some time."

"Oh, didn't you mention it before? The woman you loved was part of it, right...?"

He nodded. "We've been trying to find all the people who want to bring that mafia back, but we haven't had too much success yet. When you're back from Italy, you have to get to work too." He smiled, and I chuckled.

"Of course. Han taught me a lot. I will help him."

"Good. By the way, Minho has one last meeting to finish up all the details for the shipment, and said he'll meet you at the airport. Since I.N is the only one here with nothing to do, he's gonna take you."

I nodded. I've never actually spoken to I.N until now, so I bet the three-hour long trip to the airport will be really fun.

A few hours later, an uncertain knock on the door, barely audible, took me out of my thoughts.

"We should get going. Ready?" Jeongin asked as soon as I opened the door.

I nodded and he stepped in the room uninvited, grabbing the two suitcases.

"Wait, let me-"

"That's fine." He shrugged me off and brushed over me, carrying both suitcases down the stairs. When we reached the car, he put everything in the trunk and hopped in the driver's seat, without paying me any mind.

I settled myself in the passenger seat next to him and he turned on the radio and started to drive without saying anything to me.

The airport was pretty far away, and after a little while of going through fields and forests, the road became quite familiar, but it was hard to tell.

"Oh, I think I recognise this place." I started, and eyed Jeongin, but he didn't show anything on his face.

"Really?" He asked drily.

"Yea, I believe this is where you've buried Emilia, right?"

He side-eyed me and hummed a bit.

Something seemed off, for some reason. Was it his mannerisms that were sending alarm bells to my brain?

"Chris told me you don't go there that often."

"Mhm."

"Too bad we don't have enough time, we could've paid her a visit." I pressed further, but he just shrugged.

Something about his indifference made my mind uneasy.

"I love that you buried her next to that large chestnut tree. It's really beautiful."

"Thanks."

I froze.

Jeongin buried her alone.

He never comes to her grave.

But still, he loved her as much as Chris.

Something doesn't add up.

Why doesn't he remember what the place he buried her looks like?

"Except there's no tree." I whispered and looked at him uneasy, and he gulped.

"It's been a long time since I've been there." He replied quietly.

Still, it didn't add up. You don't forget shit like this, especially since it's a defining event that builds you as a person. Burying the one you love is traumatising enough to make you remember every fucking small detail.

He kept silent the rest of the ride and I was deep in thought, trying to make sense of the newly found information. Jeongin was behaving too weird, and maybe other people wouldn't have noticed, but I spent many years observing mannerisms, and I couldn't help but notice the way he leaned back in his seat and the strength with which he held the wheel. Also, he kept tapping his index finger on the wheel and he seemed tense. Actually, he seemed like he tried not to seem tense.

Jeongin loved Emilia.

He was the last person to see her alive, and he buried her on his own.

He never comes to her grave. Moreover, he doesn't remember what that place even looks like.

And then, the penny dropped, my mind suddenly becoming clearer.

He never comes to her grave

Because she's not there.

Jeongin pulled into the airport's parking lot and took off his safety belt, and as he was preparing to get out of the car, I decided to speak up.

"She's not dead, is she?"

He stayed silent.

My breath became ragged.

"You never buried her. It's an empty grave." It felt like the start of a manic episode, and I wanted nothing more than to drive back to her grave and start digging, to check myself if there really isn't anything buried in there.

He looked at me sharply, his brows furrowed.

"What makes you say that?"

"Jeongin, don't play dumb."

He started trembling slightly, but tried to keep his composure.

"That's why I didn't want to speak to you... fuck."

He cursed, and I stood silent, watching him. When his eyes met mine, he let out another curse, then spoke.

"I dug a grave for her..."

"But she's not dead."

"I don't know..."

"Jeongin-"

"Chris can't know about this. He can't. I promised her-"

"He won't. But I need you to walk me through what happened. What really happened."

Jeongin shook his head and closed his eyes. It was obvious that this was hard on him as well.

"I-" Just as he started to talk, a knock on our window interrupted us. Minho grinned happily and opened my door, cupping my cheeks and pecking my lips.

Fucking timing.

"How's my favourite girl doing? Ready to go to Italy?"

"... yes, I'm ready." I replied, reluctant to get out of the car. Still, I got out and retrieved the two suitcases from the trunk, and Minho and I started walking towards the entrance.

I threw Jeongin one last glance, and he nodded briefly to signal goodbye. I cursed in my head more than ever, because I had Jeongin, and I would've found out every last piece of this mystery if Minho hadn't come at that exact same time.

We went inside the airport and passed through security check, and we hopped on a plane one hour later. Minho slept the whole flight, getting back his missed night's rest while he was away to figure out how the shipment to Italy was going to happen, and I was deep in my thoughts, knowing that Jeongin's secret had the power to either drive Chan crazy, or turn him completely mad.

I wasn't sure what to do with this newfound information. Actually, I wasn't sure if I should do anything at all, or just keep silent and pretend I've never learnt of this horrible misfortune. The only thing that was certain, though, was that I needed to tell Minho as soon as possible, because this shouldn't be my burden to bear alone, and then we'd figure out what to do, together.

~6 days later~

~third person POV~

"Honey, I'm home~" Minho sang while opening the door to Iris' and his holiday home. It was a small cottage on the outskirts of the town; it had a beautiful garden full of flowers, signalling an early beginning of spring.

The temperature wasn't too bad either. Quite warm, Iris would say, as she basked under the sun's warm rays, smelling the sweet fragrance of lilies and daffodils. Except she couldn't exactly enjoy it because she's been worried sick.

"You're home? Minho, is that seriously what you're telling me after almost making me have a heart attack?! I thought something happened to you!"

"Well, nothing happened! I'm here in one piece! See? Both legs, both arms, 20 fingers, all teeth!" He showed Iris each body part, chuckling a bit at his lover's worried expression.

"Minho!"

"Aww, not even married yet and she's already nagging me!" He joked again, pinching Iris' cheek, but the girl wouldn't budge. She was already wary of being left at home to wait for him while he goes alone to finish up the trade, and after waiting for him for a few days, agonising about what he could be doing or where he's at, this indifferent attitude of his really pissed her off. He noticed it as well, so he quickly changed his stance, and tried to emphasise again that he's well and nothing happened. "Come on, doll, I'm truly fine. Don't you think I'm even more handsome now that you haven't seen my face in 6 days?"

"That's not funny." She furrowed her brows. "You said you'll be gone for a day. It's been 6. I thought you were dead."

"Iris... look, it took a bit longer than expected because one of our-"

"-shipments got caught at customs." She cut him off. "Yea, I know. Chris told me, after I called him 100 times to see if he knew anything."

"Woah, straight to the boss, I see!" He gasped. "I'm truly sorry for worrying you, I didn't mean to. My phone died and I forgot to bring the external charger. Amateur mistake."

"Did no one have a fucking charger over there?"

"We were in an old mill. No electricity whatsoever, and no one was allowed to leave until the issue's been sorted out."

Iris stood silent, so Minho wrapped his arms around her, trying to comfort her. It was obvious she was still quite upset, but she was also relieved to see him alive.

"You can't die before we get married." She whispered, and he chuckled.

"Can I die after, then?"

"No. You can't. You're forced to grow old with me, to get wrinkles and become ugly."

"I will never become ugly." He retorted.

"And I will never become a young widow. And you are never going alone again."

"Okay love. I'm sorry." He put his hands on her face and pecked her nose. "Shall we go get married, then?"

Minho grabbed Iris' hand and took her to the garden, collecting a couple of flowers and improvising a bouquet. Then, he took her to a small arch made of green leaves and branches in the cottage garden where three people were patiently waiting for them.

"A priest?" She whispered, shocked. Neither of them was religious, but Minho wanted to do this by the book; he talked to the town's priest and even hired two random people to be their witnesses. "When did you even arrange this?"

"Surprise!" He chuckled. "We're doing this right. Except for the giving away part, because I'm not letting a random stranger give you away to me." He muttered quickly, and they both walked to the arch, holding hands.

The priest then began the short ceremony, and Iris could barely hold in her laughter, because everything was in damn Italian, which she couldn't speak at all. Sure, she knew her "Ciao"sand "Grazie"s, but other than that, she could only guess what the dude dressed in white was talking about.

When the moment came for them to say their "I do's and kiss, both felt the happiest in the world.

"I'm freaking starving. Maybe we should head to the town and grab a bite." Minho spoke, cuddled up to the crook of his now-wife's neck.

"No mood for cooking today?" She chuckled and gently petted his hair.

"No, I wanna rest up a bit."

"So let's go get lunch, hm?"

They slowly got dressed and decided to walk until the centre of the town and enjoy the sun for a bit more until they had to go back. They had a few days of paradise left, but Minho still had to go back home and give Chris all the important documents and intel regarding the trade, and other possible expansion plans throughout Europe. Iris also wanted to get to work, to prove herself somehow that she could truly be part of Stray Kids, not just as Minho's wife, but also as a valuable asset. This didn't mean that she wouldn't wish she had more time on her honeymoon with Minho.

They sat down outside at a small metal table in front of a little restaurant, one of the few in town, and sipped on a hot coffee while waiting for their meal to arrive.

~Iris' POV~

It was truly relaxing to just sit like this and watch the people in this town go by with their daily lives. Some people were sitting around tables, just like Minho and I, drinking lemonades and smiling ear to ear, or laughing while sharing stories; other people were hurrying to work (or so I assumed), others were already working, like the server who just brought us two drinks we decided to get as desserts.

The street itself was pretty. Despite this being a small town, people were very civilised; there was no trash on the ground, the antique buildings were taken care of well, and the centre had it all: a few restaurants, a flower shop, a bookstore, a souvenir shop and a mini market. Nothing was missing.

"Oh?" I tilted my head after noticing a little girl running out of the flower shop.

"What is it?" Minho smiled.

"That little girl there is soooooo cute!" I exclaimed and squirmed with happiness. "Her hair is so pretty and curly! Don't you think so?" I asked, and Minho turned around briefly to see the girl I was pointing to.

"Oh my, yes, she's so cute! Should we go back to our house and make one?"

"Minho!" I playfully slapped his arm.

"What?!"

"Do you think it's okay for her to be alone like that on the street?" I frowned. "Oh, nevermind, her mother is apparently getting her back."

After saying this, I diverted my attention to the paper straw in the lemonade, while Minho turned around to watch the scene unfold.

Damn, I fucking hate paper straws.

"Iris." Minho said, and I raised my gaze to notice he seemed distressed all of a sudden.

"Is anything wrong?" I asked, my heart starting to beat out of my chest.

"... can you please go to that flower shop and get yourself a bouquet of whatever flowers they have?" He asked in a breath, and I didn't understand what got him so agitated. Still, I nodded unsurely and grabbed the money he handed to me and made my way to the flower shop.

"Ciao!" The woman at the register spoke cheerfully.

"Hello." I replied and smiled.

"Oh, a foreigner." The woman laughed.

She seemed around my age, and was wearing a long, black fitted dress and a bright red lipstick. She was beautiful, and oddly familiar. It felt like I saw her somewhere before, but I wasn't entirely sure...

"Yes, you as well?" I laughed back, when her daughter made her way towards me, her soft curls bouncing up and down with each of her little steps. "Oh my, you have such an adorable daughter!"

"Thank you, she's almost 3, and a menace!"

"Is that so? Are you making mommy upset?" I pinched her cheeks, and she chuckled.

"So, would you like to buy some flowers?"

"Oh, yes, I'd like a-"

"-bouquet of white lilies, please." Minho's voice came from behind me, cutting me off.

"Minho?" I turned my head around, and everything happened in a flash: the woman ran towards her daughter and grabbed her from me, and Minho reacted immediately as well, trying to get between me and her.

I don't know who was faster, but the next thing I remember is feeling a powerful blow to the back of my head.

Ugh... this hurts...

I slowly tried to open my eyes, but the pounding headache in my head was making it hard to.

"... and that's how I ended up here." A voice I didn't recognise spoke.

Ah... it's probably the woman...

"Fucking hell..." Minho replied.

"I hope you understand why I can't come back with you, Minho. I'm sorry."

What's going on...?

"No, Emilia, I'm the one who's sorry. I know you probably hate Chris. Hell, you probably hate me, and everyone else, but-"

"Yes, you're right. I fucking loathe all of you."

"Some tea?" A man whose voice I also couldn't recognise asked.

"What, are you some sort of fucking housewife?" The woman spat.

"You and that rotten mouth of yours. What if Ivy hears you?"

I finally managed to sit up straight, massaging the back of my head with my hand.

"Iris, you're awake!" Minho sat up from his chair and ran up to me. I glanced around the room and saw the woman sitting at a round table and sipping tea. Her back was straight, her red lips stained the coffee cup, and her dress reached her ankles still. "How are you feeling?"

"I'm fine... my head hurts a bit... what happened?"

"Emilia hit you." He sighed.

"Sorry 'bout that!" Emilia chuckled slightly.

"Wait, Emilia, as in-"

"Chan's lover." Minho clarified, and my eyes grew wide. I couldn't believe it.

I already knew she was still alive, but what were the chances of us bumping into her in a random small town in Italy?

"Am I that popular?" She chuckled. "Nice to meet you, Minho's wife."

"I have a name." I stood up and headed to her, handing my hand out for a shake. "Iris."

Emilia's gaze was so sharp, I was afraid it would cut, and the darkness in her eyes was so deep, it was hard to read her.

"Emilia, but oh well, you know that already."

"I do. So, this is where you were hiding." I glanced around the room again; simple décor, and a few photographs of her daughter – Ivy? – on display.

Minho looked at me with confusion, and Emilia's smile dropped from her lips.

"What do you mean?" She asked quietly.

"I mean – I was really wondering where you were, after I found out that the pretty grave Jeongin dug for you is empty."

The room grew silent.

"Iris... what are you talking about?" Minho asked, as if hoping he heard me wrong. "Did you... know about this?"

I sighed.

"I found out the day we left to Italy and was planning to tell you about this as soon as our honeymoon was over-"

"Are you fucking kidding me?" He grabbed my arm, seething with rage. "Fuck the honeymoon,"

Ouch

"this is the type of shit you should be telling me about immediately."

"Did Jeongin tell you?" Emilia stood up and asked in a whisper, as if she could no longer breathe. "Does... does Chris also know?"

"No." I shook my head, and Minho's hand away; his grip was starting to hurt. "He's kept your secret, no matter how much it fucked him up. How could you force that kid to grow up like that? Do you know how distressed he's been?"

"Don't you dare judge me for it." She spat. "It was a life and death decision for me, and you would've done the same thing given the circumstances."

I looked back at Minho, who was still angry at me – I could see it on his face. Still, he grabbed my hand, gently this time, and brought it up to his lips, kissing it. He mouthed an "I'm sorry", and I nodded.

"Chris can't know about this." She started shaking her head left and right erratically. "He can't. I can't see him. I don't want to-"

"Emilia, calm down." The younger man who brought the tea put his hands on her shoulders, making her sit back down.

"How the fuck can I be calm, Wooyoung?!" She raised her voice and looked at me and Minho, venom in her eyes. "If Chan finds out-"

"He'll come find you." I finished her sentence.

"No. He can't. Minho, please-"

Minho squeezed my hand and looked at me. I knew what he wanted to do. I knew it wasn't right, and that we shouldn't do this. But Minho's priority was his Mafia's well-being, and my priority was Minho, so I couldn't care less about anyone else, no matter how empathetic I could get.

"I'm sorry, Emilia, but ever since you died, Chris has been a fucking mess..." Minho started. "You're the only one who can make him be... his old self."

"Fuck that. Fuck Chris. Fuck YOU!"

"You have to come back with us." I insisted and released Minho's hand, taking a cautious step towards Emilia.

"No. Not in a million years. I will never come back."

"You have his child." I continued insisting, and she burst out into a hysterical laugh.

"So what? Does he deserve a chance at parenting? Ivy baby, look, this is your daddy. He almost killed mommy and you, and he stepped on her heart repeatedly, but that's okay, because he feels bad about it!"

"I'm sorry, but it's just the way it will be." I looked at her with compassion. I knew it was unfair to her, but she needed to come back.

No, she wouldn't magically fix everything wrong within Chris. Who knows how he'll even react? But she still needed to come back.

Minho would never let her go anyway, now that he knows.

"Fuck your fake-ass compassion." She laughed again, and then I noticed she froze. "Are you seriously threatening me right now? After ruining everything for me?"

I turned around to see what she was talking about, and there was Minho, his gun raised and pointed directly towards Emilia. The other man – Wooyoung – started moving, moment when I took my gun out as well, forcing him to stay in place. I still didn't know how to use it properly, but they didn't need to know that.

"I can't believe you two." Emilia laughed again. "I invite you into my house to talk, and you dare threaten me. How fucking rude you two are. Truly a match made in heaven." She spat.

"I don't want to threaten you. We were the ones who were wrong. But if you don't come back willingly... You leave me no choice."

"So, shoot me, then! Fucking shoot me and end this already, Minho!" She shouted. "I'm not coming with you!"

"No..." He shook his head. "I won't take you with us if you don't want it, Emilia. I'm just saying that... if you won't come, we're gonna stay just like this while Iris goes to the other room and grabs your daughter. She's gonna take her to Chris and explain everything, and that's it."

"You wouldn't." She shook her head in disbelief.

"Try me."

"Fuck you."

"I'm sorry."

"Fuck you!" She shouted harder.

"So, will you come with us?" Minho asked again. He phrased it as if she actually had a choice, which she didn't. It was like that saying: when you only have two choices, you have no choice at all.

"Wooyoung," she started, her voice trembling. "what in the world..."

"I think we have to go with them, Shade..."

"But..."

"Would you let them take Ivy?" Wooyoung whispered. He was distressed as well. It was too cruel, but sometimes you have to be the bad guy in someone else's life.

I was sure that's how Emilia perceived me and Minho.

We were unscrupulous villains who were here to break down everything she built, until nothing was left standing.

And unfortunately she was right.

~THE END OF PART ONE – THE BLACK IRIS~

PART TWO – THE WITHERED ROSE (coming soon)

---

(A/N) Hello!

We finally reached the end of The Black Iris and I'm so excited for this ending.

Emilia is back!

Part II is in the making right now, so we're going to have a bit of a hiatus unfortunately, but still, thank you for being patient with me and for reading until now!

What are your thoughts? What's going to happen from now on?

Does Chris have any chance to be forgiven?

I'm so excited to keep writing this story!

Thank you again!

Yours truly,

Storm

---

Chapter 7 | PART II - The Withered Rose

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mariacallous · 7 months

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On Monday, the leadership of the Screen Actors Guild–American Federation of Television and Radio Artists held a members-only webinar to discuss the contract the union tentatively agreed upon last week with the Alliance of Motion Picture and Television Producers. If ratified, the contract will officially end the longest labor strike in the guild’s history.

For many in the industry, artificial intelligence was one of the strike's most contentious, fear-inducing components. Over the weekend, SAG released details of its agreed AI terms, an expansive set of protections that require consent and compensation for all actors, regardless of status. With this agreement, SAG has gone substantially further than the Directors Guild of America or the Writers Guild of America, who preceded the group in coming to terms with the AMPTP. This isn’t to say that SAG succeeded where the other unions failed but that actors face more of an immediate, existential threat from machine-learning advances and other computer-generated technologies.

The SAG deal is similar to the DGA and WGA deals in that it demands protections for any instance where machine-learning tools are used to manipulate or exploit their work. All three unions have claimed their AI agreements are "historic" and "protective," but whether one agrees with that or not, these deals function as important guideposts. AI doesn't just posit a threat to writers and actors—it has ramifications for workers in all fields, creative or otherwise.

For those looking to Hollywood's labor struggles as a blueprint for how to deal with AI in their own disputes, it's important that these deals have the right protections, so I understand those who have questioned them or pushed them to be more stringent. I’m among them. But there is a point at which we are pushing for things that cannot be accomplished in this round of negotiations and may not need to be pushed for at all.

To better understand what the public generally calls AI and its perceived threat, I spent months during the strike meeting with many of the leading engineers and tech experts in machine-learning and legal scholars in both Big Tech and copyright law.

The essence of what I learned confirmed three key points: The first is that the gravest threats are not what we hear most spoken about in the news—most of the people whom machine-learning tools will negatively impact aren’t the privileged but low- and working-class laborers and marginalized and minority groups, due to the inherent biases within the technology. The second point is that the studios are as threatened by the rise and unregulated power of Big Tech as the creative workforce, something I wrote about in detail earlier in the strike here and that WIRED’s Angela Watercutter astutely expanded upon here.

Both lead to the third point, which speaks most directly to the AI deals: No ironclad legal language exists to fully protect artists (or anyone) from exploitation involving machine-learning tools.

When we hear artists talk about fighting AI on legal grounds, they’re either suing for copyright infringement or requiring tech companies to cease inputting creative works into their AI models. Neither of these approaches are effective in the current climate. Copyright law is designed to protect intellectual property holders, not creative individuals, and the majority of these infringement lawsuits are unlikely to succeed or, if they do, are unlikely to lead to enforceable new laws. This became evident when the Authors Guild failed in its copyright lawsuit against Google in 2015; and it faces similar challenges with its new suit, as outlined here.

The demand to control the ability of AI to train on artists' work betrays a fundamental lack of understanding of how these models and the companies behind them function, as we can’t possibly prevent who scrapes what in an age where everything is already ingested online. It also relies on trusting tech companies to police themselves and not ingest works they have been told not to, knowing it’s nearly impossible to prove otherwise.

Tech entities like OpenAI are black boxes that offer little to no disclosure about how their datasets work, as are all the major Big Tech players. That doesn’t mean we shouldn’t fight for greater transparency and reform copyright protections. However, that’s a long and uncertain game and requires government entities like the US Federal Trade Commission to be willing to battle the deep-pocketed lobbyists preventing meaningful legislation against their Big Tech bosses. There will be progress eventually, but certainly not in time for this labor crisis that has hurt so many.

The absence of enforceable laws that would shackle Big Tech doesn’t make these deals a toothless compromise—far from it. There is great value in a labor force firmly demanding its terms be codified in a contract. The studios can find loopholes around some of that language if they choose, as they have in the past, but they will then be in breach of their agreed contract and will face publicly shaming lawsuits by influential and beloved artists and the potential of another lengthy and costly strike.

What is historic in these Hollywood deals is the clear statement of what the creative workforce will and won't tolerate from the corporations. Standing in solidarity behind that statement carries tremendous weight, even if it isn't fully enforceable. It sends a message to other industry unions, several of which are facing upcoming contract negotiations, and to all labor movements, that workers will not tolerate being exploited and replaced by the rapid advance of Big Tech. And it should not be lost on the AMPTP that it may soon find itself making similar demands for its own survival to the Big Tech companies, who are perfectly poised to circumvent or devour the legacy studios.

Over the weekend, there were calls for SAG members to reject the contract based on its AI stipulations. I'll be voting to ratify, as I did for the DGA and WGA agreements—not because the terms are perfect or ironclad but because the deal is meaningful and effective. And there are no practical and immediate solutions that aren’t currently addressed. It’s time to get back to work.

This is not a fight that ends with the current strike; it’s early days in the Tech Era, with both painful disruption and significant benefits to come. The SAG deal, in combination with the DGA and WGA deals, is a momentous early blow in labor’s fight for a fair and equitable place in the new world.

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hit-song-showdown · 1 year

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Year-End Poll #30: 1979

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: The Knack, Donna Summer (x2), Chic, Rod Stewart, Peaches & Herb, Gloria Gaynor, Village People, Anita Ward, Robert John. End description]

More information about this blog here

We have made it through another decade, everyone. As we reach the end of the 1970's, we are also reaching the end of disco. This is something that makes this genre stand out in a historic sense. Because while we've covered many genres tied to their decade (traditional pop with the 50s, doo-wop with the 60s, etc), those didn't necessarily end the moment the decade switched over. We're still in disco's peak (the dance party before the storm), and many of the songs and artists featured on today's poll are still considered classics. Fun fact, the original name for Chic's Le Freak was called Fuck Off!, which in my opinion is the correct way to sing along to it. The song was written after the band couldn't get into Studio 54, the disco hot spot of the 1970's.

Which brings us to the first crumbling pillar that will send disco collapsing. As disco became mainstream, the aesthetics of disco became less about marginalized people surrounding themselves with opulence and luxury as an escape, and more about...the opulent surrounding themselves with more luxury. The communities who had built this subculture were getting priced out of their own hot spots as the upper class and the celebrities flocked to the hot new thing.

But the disco backlash wasn't just marginalized people and disco purists frustrated with the gentrification and commodification of their subculture. In fact, I think it's safe to say that they were the minority. In reality, the disco backlash had two main prongs: the general music-listening public who was sick of hearing disco on every station, and/or bigots who would hate any kind of Black or gay music they heard no matter how commercialized it became.

So, let's talk about Disco Demolition Night.

July 12th, 1979, the rock vs. disco conflict reached its ugliest peak as tens of thousands of people stormed Comiskey Park in Chicago. Disco records were crushed, burned, and even blown up. The event soon broke out into a riot and thankfully no one was killed, but the demonstration still casts an unpleasant shadow over this moment in music history.

I don't want to diminish the ugliness of this event. As Craig Werner, a professor of African American studies at the University of Wisconsin put it:

"The Anti-disco movement represented an unholy alliance of funkateers and feminists, progressives and puritans, rockers and reactionaries. None the less, the attacks on disco gave respectable voice to the ugliest kinds of unacknowledged racism, sexism and homophobia." (A Change Is Gonna Come)

And to quote Chic's Nile Rogers:

"It felt to us like Nazi book-burning. This is America, the home of jazz and rock and people were now afraid even to say the word 'disco'. I remember thinking - we're not even a disco group."

So I don't want to imply that Disco Demolition Night wasn't a shameful moment, because it was. However, it didn't kill disco. I see a lot of music retrospectives use this event as the one climactic moment that killed the genre and forced music itself to change. And I get why; it's an exciting and narratively satisfying conclusion to come to. But I don't want to say that, because I don't want to give Steve Dahl, the anti-disco shock jock radio DJ who organized the event, the credit in taking down an entire subculture.

Commercialization killed disco. White executives and artists cramming disco into everything without appreciating its roots killed disco. Gentrification killed disco. Changing tastes killed disco. Homophobia and racism killed disco. Capitalism killed disco.

A radio DJ and his angry drunk white boy fans storming a baseball stadium didn't kill disco. But it was the symptom of a disease that was already coursing through the system.

And despite the genre's historic death, disco would actually continue to live on past this decade in a variety of ways. Much like most other genres, disco was able to change and evolve with the times -- it just couldn't do so under the "disco" label as even the name itself became poison.

Also, as I said I keep these polls focused on the U.S. charts because that's where I'm from so I have a better understanding of the musical and historic context. However, it seems like disco's death was mostly contained to this country. When I glance at the various European charts (and any European followers can feel free to correct me), disco didn't seem to drop off in the same way. This will become relevant when we cover some of the European crossovers in a few decades.

So as we celebrate/mourn the end of the seventies with its last dance party, we can all come together and agree that whether you're a rock fan or a disco fan, at least most of your music has aged better than talk radio.

See you all in the 80's.

#billboard music #billboard poll #tumblr poll #1970s #1970s music #1979 #the knack #donna summer #chic #rod stewart #peaches and herb #gloria gaynor #village people #anita ward #robert john

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jayblanc · 7 months

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The Strike is over, but the conditions continue.

Okay, so the Media Strikes are over* what now? Everything is fine right, and onwards we go.

Except... All the guys who worked their hardest to undermine the Unions are all still there. And let me assure you that even when they're not outright hostile, there's swathes of "Producers" who maintain wilful ignorance of what they need to do to be right by their workers.

Here's an example from the "wilful ignorance" end of that scale, and one that threatens to become too common an occurrence as we enter the age of the multi-million dollar 'crowdfunded' production.

Back in the middle of the Strike, the producers of the successful crowd funded 'Lackadaisy' Pilot announced a crowd funded series order. They quickly hit their target for a new episode, then a short-season production order, and raised more than enough that they declared they could complete a full season production order at two million dollars.

I contacted the producers to ask if they were going to do right by their returning SAG-AFTRA cast, and be careful to follow SAG-AFTRA terms and consider getting an appropriate waiver if they needed one.

I received almost immediate lash-back from the producers, who were incensed that I questioned them, and accused me of 'trying to tear them down to be a hero'. They then issued this public statement on their crowd funder, buried as a silent update to their FAQ...

---

We are not members of the AMPTP (Alliance of Motion Picture and Television Producers). That is the body that SAG-AFTRA (The Screen Actors Guild – American Federation of Television and Radio Artists) and the WGA (Writers Guild of America) are on strike against. We are also not a theatrical production (which the strikes are explicitly targeting), and so are not subject to the strikes. We negotiate our contracts with our crew members directly, not through AMPTP. Those AMPTP contracts are what SAG-AFTRA and the WGA are objecting to, and we do not use those objectionable contracts. We wholeheartedly support the current labor actions, and hope labor is able to achieve every single one of their demands and more! There is no art without artists, and art is labor. SOLIDARITY FOREVER!

---

Let's go over this statement...

"We are not members of the AMPTP" - No, you personally are not. And under the line producers are indeed annoyed at the AMPTP for making it appear they represent all production staffers when they do not. But... And this is important, all production *companies* are still employers, and SAG-AFTRA, WGA and IATSE are the collective bargaining units that hold them to account. And these unions have to operate from the assumption that your company might, for example, seek to do a deal with Netflix to get the series streamed there... And even if they're "Just going to put it on YouTube", well, it may come as a shock but YouTube is owned by a Big Media Company called Google. It is actually very hard to distribute media truly independently than you might think, and avoiding the AMPTP is difficult. Particularly since they don't make their member companies particularly easy to identify, and there's no published list of them... But even if you still do all that, this still means your production company is Management, and the unions have every right to look after your work force.

"We are also not a theatrical production" - This is either weasel wording, or wilful ignorance. No, they are not a "Theatrical Production". But having a budget over one million dollars means they are a "Television Production", even if independently streamed and distributed. And relevant expectations of following a collectively bargained agreement in the relevant category still exist.

"We negotiate our contracts with our crew members directly" - Nothing says you understand collective bargaining more than insisting on individual negotiations with your work force.

"Those AMPTP contracts are what SAG-AFTRA and the WGA are objecting to, and we do not use those objectionable contracts." - Again this is either wilful ignorance of weasel wording. The 'Minimum Agreements' were not set out by the AMPTP, they're the product of the unions pushing them into agreeing on them. And they are the minimums, not full contracts. The strikes were about renegotiating better minimums agreements. And the new minimum agreements won't be "AMPTP Contracts" either, but the bare minimum the unions will demand from you.

"There is no art without artists, and art is labor. SOLIDARITY FOREVER!" - I find it strange to end this statement on a declaration of solidarity, after spending the rest of it explaining how you don't think that solidarity applies to you.

---

Now I want to make it clear, I am not making an assumption of malice on behalf of the Lackadaisy production. I wish them and those that will be working for them, all the best of luck.

But, at the end of the day, worker conditions are harmed just as much by wilful ignorance as direct malice. And sometimes, people who have assured themselves that they are good people can cause harm because they simply don't bother to examine their assumptions. And then cause further harm by doubling down on it when questioned, because they believe themselves to be good people, so anyone 'attacking them' must be a bad person.

And some times that means intervention to drag them into actually understanding their obligations. Be it reluctantly, be it kicking and screaming about being attacked, be it actively opposed. That's what unions are there for.

And that's what Solidarity actually means.

(*IATSE, the associated media worker trade group is expected to go on strike when their collective contract is up for renegotiation early 2024)

#sag aftra #wga strike #iatse #support unions #union strong #solidarity #production #lackadaisy

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