#NBCUniversal Content Studios

[fans4wga]

8 NOVEMBER: SAG REACHES TENTATIVE AGREEMENT TO END STRIKE

"After a grueling118 days on strike, SAG-AFTRA has officially reached a tentative agreement on a new three-year contract with studios, a move that is heralding the end of the 2023 actors’ strike.

The SAG-AFTRA TV/Theatrical Committee approved the agreement in a unanimous vote on Wednesday, SAG-AFTRA announced. The strike will end at 12:01 am Thursday.

The performers’ union and the Alliance of Motion Picture and Television Producers announced the provisional agreement on Wedneday, after about two weeks of renewed negotiations. If ratified by the SAG-AFTRA members, the deal could bring an end to the strike that kneecapped Hollywood for much of the summer and early fall in conjunction with the writers’ strike, which ended in late September.

The union and the AMPTP are so far being mum on the details of the agreement, which will emerge in the next few days prior to the union’s ratification vote. If the deal is ratified, the contract could soon go into effect, and if not, members would essentially send their labor negotiators back to the bargaining table with the AMPTP. It was unclear as of press time whether the union would end the strike before or after the ratification vote.

When negotiations restarted on Oct. 2 for the first time since SAG-AFTRA called its work stoppage in July, hopes were high in the industry that Hollywood’s largest union could come to terms with major companies quickly. Just like they had in the final days of the writers’ negotiations, Netflix co-CEO Ted Sarandos, Warner Bros. Discovery CEO David Zaslav, Disney CEO Bob Iger and NBCUniversal Studio Group chairman and chief content officer Donna Langley attended the talks at the union’s national headquarters in Los Angeles. But the studio ended up walking out on Oct. 11 over SAG-AFTRA’s proposal to charge a fee per every streaming subscriber on major platforms in a move that the union’s chief negotiator called “mystifying” (Sarandos called the ask “a bridge too far“).

The sides reconvened on Oct. 24 after a nearly two-week break. This time, the studios came in with a more generous offer to increase actors’ wage floors and a slightly modified version of a success-based streaming bonus they had previously offered the WGA. The two sides exchanged proposals for much of the week in a tense situation that had the industry on edge. Even as a deal came into sight, progress was slow, especially when it came to putting the contract’s inaugural guardrails on AI: The union considers the rapidly advancing technology an absolutely existential issue for members and sought to close any potential loopholes that could lead to future issues. On Saturday the studios presented what the union characterized as the companies’ “last, best and final,” overarching offer (still, the two sides kept swapping offers after).

When the union’s previous contract expired in mid-July and SAG-AFTRA went out on strike, many outstanding issues were left on the table. Setting terms for the use of A.I. was a major sticking point between union and studio negotiators, as was a proposal to provide casts with additional streaming compensation. Union negotiators sought to institute an unusually large minimum rate increase in the first year of the contract, a host of ground rules for self-taped virtual auditions and major increases to health and pension contributions “caps” that have not been changed since the 1980s. Meanwhile, as the entertainment business continues to experience a period of contraction, major companies looked to preserve some measure of flexibility and cost control.

SAG-AFTRA’s strike, coming as it did amid an ongoing writers’ strike in July, gave the union an unusual amount of leverage early on in its talks with the AMPTP. Almost immediately, most remaining unionized U.S. productions that were operating without writers shut down, including Deadpool 3 and Venom 3. An as the months of the work stoppage stretched on, a strategist at the Milken Institute has estimated that the strikes have cost the California economy alone at least $6 billion.

But pressure started to build as the strike neared and surpassed its 100-day mark. A-lister actors began talking to both their union and the studios in an attempt to improve progress in the negotiations. A number of actors also started drafting a letter expressing concerns about the union’s leadership but held back from publishing it, fearful of the missive’s potential impact on negotiations. Then, on Oct. 26, a separate letter was released signed by apparently thousands of actors, exhorting negotiators, “We have not come all this way to cave now.”

The amount of time that the union spent on strike in 2023 will certainly raise expectations for the deal they reached with studios. In the union’s upcoming ratification vote, the date of which has not yet been announced, members will decide whether the pact is acceptable to them."

#sag-aftra strike #sag strike #actors strike

[ptbf2002]

Everyone Hates CocoMelon Lane

The Loud House Belongs To Chris Savino, Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

Magiki Belongs To Eryk Casemiro, Cyril Deydier, Pegbar Animation, Animasia Studio, Rainbow S.P.A. Paramount Media Networks, Inc. Paramount Global, DeAgostini Publishing Italy S.P.A. DeAgostini Editore S.P.A. DeAKids, DeA Junior, DeAgostini S.P.A. DeAPlaneta Kids And Family, DeAPlaneta Entertainment, Télé Images Productions, Zodiak Kids Studios France, Banijay S.A. Ketchup TV, KidsMe S.R.L. Gulli, TiJi, Metropole Télévision S.A. Groupe M6, Frisbee, Switchover Media, Discovery Italia S.R.L. Discovery Networks Italia, Discovery Networks EMEA, Discovery Networks International, Discovery, Inc. And Warner Bros. Discovery, Inc.

Hi Hi Puffy Ami Yumi Belongs To Sam Register, Renegade Animation, Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Harvey Street Kids/Harvey Girls Forever! Belongs To Alfred Harvey, Emily Brundige, Dave Enterprises, Digital Emation, Inc. NE4U, Inc. The Harvey Entertainment Company, Classic Media, LLC, DreamWorks Classics, DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Netflix Inc.

South Park Belongs To Trey Parker, Matt Stone, Bardel Entertainment, Inc. Titmouse Canada Animation Inc. Titmouse, Inc. Celluloid Studios, Braniff Productions, Parker-Stone Productions, South Park Studios, MTV Entertainment Studios, Comedy Central, Comedy Partners, MTV Entertainment Group, Paramount+, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Paramount Streaming And Paramount Global

The Powerpuff Girls Belongs To Craig McCracken, Rough Draft Korea Co., Ltd. Hanna-Barbera Cartoons, Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Adventure Time Belongs To Pendleton Ward Rough Draft Korea Co., Ltd. Saerom Animation, Inc. Science SARU Inc. Frederator Studios, Frederator Networks, Inc. Wow Unlimited Media Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Angry Birds Toons Belongs To Mikael Hed, Lauri Konttori, Mikko Pöllä, A. Film Production A/S, Pikkukala Oy, Toon City Animation Inc. Karrot Animation, Copenhagen Bombay, Rovio Animation, Ltd. Rovio Entertainment Corporation, SEGA Corporation, SEGA Sammy Holdings Inc. CAKE Entertainment Ltd. Sony Pictures Home Entertainment Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, Toons.TV, MTV3, MTV Oy, TV4 Media AB, Telia Company AB, TELETOON, TELETOON Canada Inc. And Corus Entertainment Inc.

Star vs the Forces of Evil Belongs To Daron Nefcy, Mercury Filmworks Toon City Animation, Inc. Rough Draft Korea Co, Ltd. Sugarcube Animation, Disney Television Animation, Disney Channel, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

[wayward-dreamer]

I saw your post about the writer's strike and was wondering what is exactly is happening?? There's been a lot of noise on Twitter and Instagram but I just understand what's right and what's fake. I hope it's over soon and the writers can get what they deserve, and I hope it doesn't affect you in anyway either. I would like to show my support so please lmk how I can!! Much love and solidarity xoxo

Hi, anon. Thanks so much for this message. I can completely understand being overwhelmed by the info on Twitter and Instagram, so its no wonder you're feeling confused on what's right or wrong in regards to information. I'd be happy to clear a few things up for you. Firstly though, I need you and anyone else who does end up reading this to know that I'm in no way an expert, and I know is what's come from the right sources on Twitter and Instagram because they are actually the ones who are the experts here. In basic terms, the writers are asking the studios they work for to be paid fairly, compensated in terms of residuals from streaming, proper weekly wages, new structure to writers' rooms, duration of projects and much, much more. This post from Twitter is the WGA negotiations on the left, and the AMPTP (Alliance of Motion Picture and Television Producers) response on the right. And this from WGAWest on Instagram will explain the strike in minimal terms for you, but basically the fight is against the major studios: Netflix, Apple, Amazon, Disney, Warner Bros, NBCUniversal, Paramount and Sony which are all under the umbrella of AMPTP.

With that, I would suggest only following @WGAWest and @WGAEast on Twitter and Instagram, for all the latest developments from the strikes as they are posting extensively. They're posting photos from different writers at the strikes, so I suggest following some of them, too. Get a look at what's happening on the ground.

In terms of showing support, if you live close to L.A. or NYC then joining the picket lines is the best way to show your solidarity. If you're driving by, honk those horns in support! Really lay on them, make it hard for the big suits to do their jobs, just as much as they've made it hard for writers to theirs.

If you live further out (or way across the pond like me), then social media is your next best tool. If social media had been more prominent during the 2007-08 strike, it could've benefitted the fight so much. So tweet, retweet (don't like, it does nothing for spreading the word), add to your stories, post videos in support of the writers. This thread from a writer has some links to the Entertainment Community Fund, which is raising money for writers' assistants, crew and other people who could affected by this strike for however long it takes for studios to give writers the fair deal they're asking for. You can also visit wga.org the official site of Writers Guild America - West, and go to WGA 2023 Strike Rules to learn the full extent of what PRE-Wga people like me can do as the strike continues.

And there is one other thing you can do, but it's completely up to you and what you decide. I can't be the one to make this decision for others. A lot of people have been cancelling their subscriptions to the streamers, and citing their reason as "Other" and writing "I stand with the WGA" along with it. This is definitely a way to hit the studios where it hurts, because if you start to lose your audience then you better listen to the people who actually create your shows, huh? If you feel this passionately in your heart, then I say go for it, I know I have. Netflix is the one that most people are cancelling more than the rest, as its the most major problem for writers, giving that they can last the longest without new content. So I'm leaving that decision with you.

Lastly, this doesn't affect me YET. It could in the near future, if the strikes continue over the next few weeks, and months. I hope it won't come to that, that the nearly 12,000 writers in the Guild will receive what is rightly owed to them. I really don't think they're asking for unreasonable things. So we have to see what happens next. It's a scary time, but it's also exciting, to know that the fight for expressing our creativity is so fiery and passionate.

Thanks again for this message, I hope it helped.

#wayward-dreamer answers #anon message #wgastrong #wga strike #i stand with the wga #wga support #pre wga and proud

[mesozoic-hunting-club]

Something that has bothered me about the two Jurassic World films thus far is that they feel incredibly cheap compared to the Jurassic Park films. Lacking unique artistic style, and in the way danger is presented or portrayed, etc. I was content to chalk this up to lazy film making even though that felt odd considering the amount of effort put into the rest of the films. But I'm beginning to think it was intentional to leave a dissatisfied audience wanting bigger and better from future installments that they undoubtedly will make and are confident people will go see even if a previous film wasn't that good. And while it might seem odd for a major film studio to intentionally make a mediocre trilogy it makes some sense if you look at Universal/NBC vs Disney/Marvel. I'll get into why I think that in a moment but first, why would they do it?

In short, Disney is a juggernaut milking Star Wars and Marvel for literal billions. Universal isn't NBC's only entertainment company but they need to start putting real money on the table to compete. JW was planned as a trilogy from day one and Universal was bringing back the Universal Monsters as well. But why make a few sequels when you can make a trilogy that starts weak and builds back towards the original JP film and leaves the audience hungry for more media and content? The Mummy (2017) failed for several reasons and the Universal Monsters plan is shelved for now. This makes the Jurassic franchise much more important in NBCUniversal Media's planning.

Now, why do I feel this is the case in JW?

Jurassic World vs Jurassic Park:

This guy makes a comment early in JW1 saying "That first park was legit" and he isn't wrong. John Hammond's vision for the first park and it's planned future expansions was that of a resort in the middle of a zoo. We see more of that in the book but it still shows in the artwork and design of JP1. The whole aesthetic (which I love) is like a safari camp built on the heavy industrial bones needed for safety. Everything about JW1 is cold and corporate approved. It is the same as every other theme park in the world, it just happens to have dinosaurs. Claire and Owen have to go outside the main park to start getting that wild vibe. I will say the Gyrospheres and the glimpse of the kayaks in the river suggests that the park has more to offer but we don't get to see it. We spend too much time with corporate goons and InGen's weird Blackwater'esque division. The control room staff also feels incredibly different which is partially due to JW featuring an operational park and JP featuring a park still in shakedown testing. John, Robert, Ray, and Dennis arguing and the subsequent trouble shooting feels like a real workplace, the control room in JW is just a place where Claire yells and buttons are pushed by minons.

Fallen Kingdom vs The Lost World:

Both films are very adventure oriented and feature hunting parties that can be a lot of fun. But once again the characters and vehicles from the JP trilogy feel much more authentic than the JW trilogy. I think the only guy in Fallen Kingdom's hunting party that stands out is this guy:

Who's name is apparently Ken Wheatley which I don't remember being said and he's played by Ted Levine but you'd never guess because he has zero material to work with. He's just the weird tooth collecting goon. Meanwhile The Lost World's hunting party had Roland, Ajay, Dieter, Carter, and Dr. Burke. Most of whom aren't even villains, they just have a jerk boss. Similar to the new control room staff in JW1 being forgettable, the new sidekicks for Owen and Claire are easily forgotten, there's Zoe the veterinarian or biologist, and screaming guy. Nothing in Fallen Kingdom has the suspense of the cliff scene in Lost World. That truck jump at the dock? Of course they will make it, literally all of the protags are on board. It's not like three are hanging off a cliff, another is in a tree top, and one is in a car while a T-Rex family separates them all.

But back to my point of starting weak and getting better towards the end. The final act of Fallen Kingdom is set in a mansion that's half a natural history museum. Essentially a sinister dark stained wood counterpart to the plaster and concrete visitor center in JP1. This is also where many more characters are in real peril. The trailer for JW: Dominion shows a massive return of original characters and lots of JP trilogy visuals. The marketing is based around a franchise conclusion that Universal can't afford. They have hyped this for years and remodeled their theme park sections to match. They will probably wrap the InGen based storyline and a main character or two might die, but this is not the end of their cash cow. I predict an intentional unsatisfactory "ending" that leaves the fandom screaming for more, which NBCUniversal will deliver in some way or another.

#jurassic park #jurassic world #film making #long post #really long post

[deadlinecom]

[alovelywaytospendanevening]

Harper's Magazine: The Life and Death of Hollywood

Currently, the machine is sputtering, running on fumes. According to research by Bloomberg, in 2013 the largest companies in film and television were more than $20 billion in the black; by 2022, that number had fallen by roughly half. From 2021 to 2022, revenue growth for the industry dropped by almost 50 percent. At U.S. box offices, by the end of last year, revenue was down 22 percent from 2019. Experts estimate that cable-television revenue has fallen 40 percent since 2015. Streaming has rarely been profitable at all. Until very recently, Netflix was the sole platform to make money; among the other companies with streaming services, only Warner Bros. Discovery’s platforms may have eked out a profit last year. And now the streaming gold rush is over. In the spring of 2022, the Federal Reserve began raising interest rates after years of nearly free credit, and at roughly the same time, Wall Street began calling in the streamers’ bets. The stock prices of nearly all the major companies with streaming platforms took precipitous falls, and none have rebounded to their prior valuation. The industry as a whole is now facing a broad contraction. Between August 2022 and the end of last year, employment fell by 26 percent—more than one job gone in every four. Layoffs hit Warner Bros. Discovery, Netflix, Paramount Global, Roku, and others in 2022. In 2023, firings swept through the representation giants United Talent Agency and Creative Artists Agency; Netflix, Paramount Global, and Roku again; plus Hulu, NBCUniversal, and Lionsgate. In early 2024, it was announced that Amazon was cutting hundreds of jobs from its Prime Video and Amazon MGM Studios divisions. In February, Paramount Global laid off roughly eight hundred people. It’s unclear which streamers will survive. As James Dolan, the interim executive chair of AMC Networks, told employees in late 2022 as he delivered news of massive layoffs—roughly 1,700 people (20 percent of U.S. staff) would lose their jobs—“the mechanisms for the monetization of content are in disarray.” Executives, meanwhile, increasingly believed that they’d found their best bet in “IP”: preexisting intellectual property—familiar stories, characters, and products—that could be milled for scripts. As an associate producer of a successful Aughts IP-driven franchise told me, IP is “sort of a hedge.” There’s some knowledge of the consumer’s interest, he said. “There’s a sort of dry run for the story.” Screenwriter Zack Stentz, who co-wrote the 2011 movies Thor and X-Men: First Class, told me, “It’s a way to take risk out of the equation as much as possible.” IP had proved extremely valuable on the international market—increasingly important as domestic box-office growth stagnated over the course of the Aughts and 2010s—and it began to make up a greater and greater share of studio output. According to the media historian Shawna Kidman, franchise movies had accounted for around 25 percent of all studios’ wide-release features in 2000; in 2017 they made up more than 64 percent. (Full article)

A considerably long but quite comprehensive read on Hollywood's current writing production system and its rampant decay. I think the rise of AI should've been more explored in the article, though; it's clearly a matter that isn't going away.

#cinema #hollywood

[chasenews]

Kering and the Festival de Cannes to present the 2024 Women In Motion Award to renowned Studio Chief and trailblazer Dame Donna Langley

François-Henri Pinault, Chairman and CEO of Kering, Iris Knobloch, President of the Festival de Cannes, and Thierry Frémaux, Director of the Festival de Cannes, will present the 2024 Women In Motion Award to Dame Donna Langley Chairman, NBCUniversal Studio Group and Chief Content Officer, during the official dinner to be held in Cannes on Sunday, May 19, 2024. In presenting the Women In…

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[blogger360ncislarules]

EXCLUSIVE: The CW, Roku and Australia‘s Stan are working up Good Cop/Bad Cop, a comedic crime procedural The CW with Jeff Wachtel’s Future Shack Entertainment.

Good Cop/Bad Cop stars Gossip Girls alumna Leighton Meester in her return to the CW, Clancy Brown (Dexter: New Blood) and Australian actor Luke Cook (Chilling Adventures of Sabrina). The series comes from writer John Quaintance (Will & Grace) and marks the latest international co-production for Stan, the CW and Roku, all of which have identified the model as core to their strategies.

Cook and Meester play a brother-sister detective team in a small Pacific Northwest police force who must contend with colourful residents, a serious lack of resources, their very complicated dynamic with each other and their police chief, Big Hank (Clancy Brown), who happens to be their father.

Production on the original series begins soon in Queensland, Australia, with The Jungle Entertainment and Future Shack Entertainment — the company former NBCUniversal International Studios President Wachtel formed in 2022 — attached as co-producers. Wachtel will be an executive producer on the series, which is a “blue sky procedural” in the vein of the series he shepherded as President of USA Network, including Suits and Psych.

Phil Lloyd, who is behind Stan’s Ben Feldman comedy Population 11, is co-executive producer, with that series’ director Trent O’Donnell is setting up the series alongside Natalie Bailey (Joe vs. Carol), Gracie Otto (Bump) and Corrie Chen (Bad Behaviour). Stan’s Cailah Scobie and Amanda Duthie also executive produce and the Queensland Government through Screen Queensland’s Production Attraction Strategy. ITV Studios has International sales rights.

For the CW, the series is its latest international co-production bet, coming after it boarded the likes of Canadian cop drama Wild Cards and the upcoming UK series Joan. Wild Cards has been a breakout for the network. Coming off series high ratings last week, it ranks as the CW’s #1 series this season in Live+7 total viewers (840,000).

“It is really exciting to collaborate with Roku and Stan on this great new series starring Leighton Meester, who we are honored to welcome home to The CW, where she launched her career and made Gossip Girl, one of the network’s most iconic and successful dramas of all time,” said Brad Schwartz, ​President of Entertainment at The CW. “Writer John Quaintance and executive producer Jeff Wachtel have created a fun and funny drama full of clever storytelling and irresistible characters that we are confident will resonate with audiences worldwide. With Jeff’s track record of launching shows like Suits, Dawson’s Creek, and Psych, we are thrilled for him to bring his hitmaking magic to The CW.”

“Backed by the all-star creative team of John Quaintance and Jeff Wachtel and featuring dynamic leads Leighton Meester, Luke Cook and Clancy Brown at the helm, Good Cop/Bad Cop is the type of series that will instantly draw viewers in,” said Brian Tannenbaum, Head of Originals, Roku Media. “The Roku Channel’s industry-leading scale and reach enables us to bring great stories directly to U.S. households with an estimated 120 million people. We strive to bring our audiences bold and fresh original programming and can’t wait to introduce them to this amazing series.”

“Stan continues to be the Australian partner of choice for the international market and we are delighted to collaborate with global content leaders the CW and Roku to deliver more world-class original content for our audience,” ​Stan Chief Content Officer Cailah Scobie said. “Good Cop/Bad Cop is a highly anticipated addition to our Originals slate, and we look forward to working with Jeff Wachtel’s Future Shack, with the team at Jungle and with Leighton Meester and Clancy Brown in the sunny state of Queensland.”

Meester is repped by UTA. Cook is repped by Artists First and Shanahan Management. Brown is repped by CAA and Pop Art Management.

#good cop bad cop #the cw

[spoilertv]

#SpoilerTV

[enterprisewired]

Skydance Media Explores Potential Deal to Take Paramount Global Private

David Ellison’s Skydance Media, in collaboration with financial backers RedBird Capital Partners and KKR & Co., is reportedly exploring a deal to take the entirety of Paramount Global private, according to sources familiar with the matter. The film and TV studio, led by Ellison, has engaged in preliminary discussions with Paramount, though full due diligence has not yet commenced. Insiders have requested anonymity as the deal talks remain private.

National Amusements Merger Contingency

Skydance’s ongoing collaboration with private equity firms RedBird Capital Partners and KKR & Co. involves a deal to acquire National Amusements, owned by Shari Redstone, which holds a controlling 77% of Paramount’s voting stock. The potential merger structure indicates a comprehensive privatization of the larger media company, Paramount Global.

Shifting Media Landscape and Paramount’s Position

Shari Redstone, considering a sale amidst the evolving media landscape favoring streaming over traditional TV, oversees a profitable business in Paramount Global. However, Paramount Global is comparatively smaller than streaming giants like Netflix, YouTube, Apple, and Amazon. These larger platforms boast more substantial balance sheets to afford diverse sports and entertainment content.

Uncertain Future and Financial Considerations

While discussions are ongoing, no acquisition is guaranteed, and the talks could face potential hurdles. The acquisition’s financial feasibility is a crucial factor, with Paramount having a market capitalization of $8.2 billion and approximately $15 billion in debt. Skydance would require additional capital for the acquisition, with potential funding from private equity partners and David Ellison’s father, Larry Ellison, the billionaire co-founder of Oracle.

Skydance has expressed disinterest in a partial deal that involves acquiring National Amusements without taking control of the entire Paramount. Such a limited deal would not address Paramount’s challenges as a publicly traded company, including managing the Paramount+ streaming service’s losses and overseeing declining linear cable assets such as MTV, VH1, Comedy Central, and Nickelodeon.

Other Players in Consideration

Warner Bros. Discovery has also initiated preliminary discussions about acquiring Paramount Global, providing an alternative scenario. In the event that Shari Redstone opts for Skydance, one motivating factor could be her apprehension that Warner Bros. Discovery might prefer merging with Comcast’s NBCUniversal.

As discussions continue, industry observers await further developments to see if Skydance’s interest in taking Paramount Global private will materialize. The media landscape’s rapid evolution and the dynamics of potential mergers and acquisitions in the entertainment industry remain key factors shaping these negotiations. Spokespeople for RedBird, Skydance, Paramount Global, and National Amusements have refrained from providing comments on the matter.

Curious to learn more? Explore our articles on Enterprise Wired

#paramount #takeover #Skydance #MediaRevolution #hollywoodmovies #media #tvshow

[ncisfranchise-source]

Aim for excellence — Brown exellence,” actor-producer Wilmer Valderrama told this year’s graduates of the National Hispanic Media Coalition‘s Series Scriptwriters Program as the eight-week intensive came to an end earlier this week.

Valderamma, the “NCIS” and “That ’70s Show” star, is a multihyphenate, activist and entrepreneur and a member of NHMC’s Visionary Alliance of entertainment industry figures who support the organization in Hollywood. He addressed the 10 participants in the TV and film writing program that includes virtual instruction, networking and mentoring opportunities. NHMC has run the Series Scriptwriters writer development program for more than 20 years.

“The writers in the program are an answer to the need to increase Latino representation in our writers rooms and make sure we are telling our own stories,” Valderrama told the group on Dec. 19 via video conference. “As we become the majority as the audience, consumers and storytellers, it is more vital than ever that we are committed to uplifting and supporting new voices.”

Participants in the NHMC program have gone to work on series and pilots for streamers including Netflix, Amazon Prime Video, Disney+, Hulu and Max and for such studios as NBCUniversal and Paramount. Valderrama acknowledged that the graduates face an uphill climb as they build their careers. He emphasized that every step they take forward as creators is meaningful for past, present and future generations.

“There will come a time when you’ll feel like the only Brown writer in the room. Instead of it being daunting, think of it as an opportunity to be bold,” Valderrama urged. “The Latino revolution will come in the form of content. Immortalize what you want, the community deserves it. Make sure the leading roles in your stories look like you — this is a love letter to your parents and grandparents. Aim for excellence. Brown excellence.”

This year’s NHMC Series Scriptwriters Program graduates are:

Diego Lanao (New York): “The Right One Alive,” pilot, 2022 Latinx List Hayley Muñoz (McAllen, Texas): Staff writer, CW’s “Nancy Drew” Jeanette Dilone (New York): Short films, “Hoar” (2022); “Rizo” (2020); “Return” (2017) K. Broch (West Michigan): Blogger, makeup artist, podcast host, “She Said…Let’s!” Natalie Wood (Texas): Coordinator, Red Hour Films; support staff, “Severance,” “Chicago Fire” Paloma Lamb (Pasadena, Calif.): Writers assistant, “Our Flag Means Death,” “Marvel’s Echo” Ruben Mendive (Chicago): Participant, Hillman Grad Mentorship Lap, Outfest Screenwriting Lab; podcast host, “La Lista: A Latinx Writers Podcast.” Sofia Brown de Lopez (Los Angeles): Loyola Marymount University, B.A. in playwriting and screenwriting, 2019; short film “Gone” (2021) Victoria de la Concha (New York): Loyola Marymount University, M.F.A. in writing and producing, 2019 Zayda Exeliz (Los Angeles): Creative content manager, Universal Pictures

Pictured from top left: Mentor Geoff Harris, Wilmer Valderrama, mentor Omaira Galarza and participants Natalie Wood, Sofia Brown de Lopez, Zayda Exeliz, Jeanette Dilone, Victoria de la Concha, K. Broch, Diego Lanao, Ruben Mendive, Hayley Muñoz and Paloma Lamb

#ncis

[ptbf2002]

Everyone Hates CocoMelon

Original Template:

SpongeBob SquarePants Belongs To Stephen Hillenburg, Rough Draft Studios, Inc. Carbunkle Cartoons, SEK Animation Studio, Wang Film Productions Co., Ltd. Rough Draft Korea Co., Ltd. United Plankton Pictures Inc. Joe Murray Productions Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

Oggy and the Cockroaches Belongs To Jean-Yves Raimbaud, Big Star Enterprise, Armada TMT, Digital Emation, Inc. Neon Pumpkin, DongWoo Animation Co. Ltd. Gaumont Multimedia, The Gaumont Film Company, Xilam Animation, France 3, France Télévisions S.A. CANAL+ Family, CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Gulli, Canal J, Metropole Télévision S.A. And Groupe M6

Hilda Belongs To Luke Pearson, Mercury Filmworks, Atomic Cartoons Inc. Thunderbird Entertainment Group Inc. Nobrow Press, Flying Eye Books, Silvergate Media Limited, Sony Pictures Television Kids, Sony Pictures Television Studios, Sony Pictures Television Inc. Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, And Netflix, Inc.

The Simpsons Belongs To Matt Groening, Anivision, DR Movie, Film Roman, LLC Hanho Heung-Up Company, Klasky-Csupo, Inc. Rough Draft Korea Co., Ltd. Toon Boom Animation, Toonzone Entertainment, Wild Horse Animation Group, Gracie Films, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

The Woody Woodpecker Show Belongs To Walter Lantz, Walter Lantz Productions, Universal Cartoon Studios, Universal Animation Studios LLC, Universal Television LLC, Universal Pictures, Universal City Studios LLC NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, And NBCUniversal Media, LLC

Animaniacs (2020 Reboot) Belongs To Tom Ruegger, Wellesley Wild, Steven Spielberg, Digital eMation, Inc. Saerom Animation, Inc. Snipple Animation Studios, Tiger Animation, Titmouse Animation, Inc. Tonic DNA Animation, Toon City Animation, Inc. Yowza! Animation, Giant Ant Animation, Studio Yotta, Birdo Studio, Flystudio, Screen Novelties, Amblin Television, Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. Hulu, Disney Streaming, Disney Entertainment, The Walt Disney Company, NBCUniversal Media, LLC, Comcast Corporation, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Danger Mouse (2015 TV series) Belongs To Brian Cosgrove, Mark Hall, Cosgrove Hall Fitzpatrick Entertainment, CHF Entertainment, FremantleMedia Kids & Family Entertainment, Fremantle Limited, Boulder Media Limited, Boat Rocker Media Inc. CBBC Production, Windmill Lane Studios, CBBC, BBC Television, BBC Worldwide Ltd. BBC Studios, And British Broadcasting Corporation (BBC)

Rocko's Modern Life Belongs To Joe Murray, Animal-Ya, Klasky-Csupo, Inc. Pacific Rim Productions, Inc. Rough Draft Korea Co., Ltd. Wang Film Productions Co., Ltd. Sunwoo Entertainment, Co., Ltd. Shanghai Rainbow Animation Tama Production, Wang Film Productions Company, Joe Murray Productions Inc. Games Animation Inc. Nickelodeon Animation Studio, Nickelodeon, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

Pink Panther and Pals Belongs To Friz Freleng, Toon City Animation, Inc. DQ Entertainment Animation Studio, DQ Entertainment International Limited, Rubicon Studios, Rubicon Group Holding, MGM Television, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon.com, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Avatar: The Last Airbender Belongs To Michael Dante DiMartino, Bryan Konietzko, DR Movie Co., Ltd. JM Animation Co., Ltd. MOI Animation, Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Paramount+ Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

The Legend of Korra Belongs To Michael Dante DiMartino, Bryan Konietzko, Studio Mir Co., Ltd. Pierrot Co., Ltd. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

Cleopatra in Space (TV series) Belongs To Doug Langdale, Fitzy Fitzmaurice, Titmouse, Inc. Inspidea Sdn. Bhd. Digitoonz Media & Entertainment Pvt. Ltd. DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, Hulu, LLC Peacock (streaming service), NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, And NBCUniversal Media, LLC

Sonic Prime Belongs To Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Joe Kelly, Joe Casey, Duncan Rouleau, Steven T. Seagle, Jam Filled Entertainment, Boat Rocker Media Inc. Flixzilla Aura, SEGA Corporation, SEGA Sammy Holdings Inc. Man of Action Entertainment, WildBrain Studios, WildBrain Ltd. Netflix Animation, And Netflix, Inc.

Star vs the Forces of Evil Belongs To Daron Nefcy, Mercury Filmworks Toon City Animation, Inc. Rough Draft Korea Co, Ltd. Sugarcube Animation, Disney Television Animation, Disney Channel, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Family Guy Belongs To Seth MacFarlane, Film Roman, LLC CNK International, Grimsaem Animation Co. Ltd., Seoul, Korea, Sunwoo Entertainment, Co., Ltd. Rough Draft Studios, Inc. Yeson Entertainment, Yearim Productions Co., Ltd Fuzzy Door Productions, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

Rise of the Teenage Mutant Ninja Turtles Belongs To Kevin Eastman, Peter Laird, Andy Suriano, Ant Ward, Digitoonz Media & Entertainment Pvt. Ltd. Flying Bark Productions Pty. Ltd. Studio 100 N.V. Mirage Studios, Image Comics, Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

Amphibia Belongs To Matt Braly, Saerom Animation, Inc. Sunmin Image Pictures Co., Ltd. Sugarcube Animation Studio, Rough Draft Korea Co., Ltd. Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Kung Fu Panda: The Dragon Knight Belongs To Mitch Watson, Peter Hastings, Technicolor Animation Productions, Mikros Animation, Dave Enterprises, Stellar Creative Labs, 88 Pictures, DreamWorks Animation Television, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, NBCUniversal Media, LLC And Netflix Inc.

Heroes of Goo Jit Zu (TV Series 2019) Belongs To Bang Zoom! Entertainment, Pixel Zoo, And Moose Toys

[winterfieldfrontiers]

TBOSAS is coming on Peacock service on Feb 2024.

Speaking on this point and what the latest deal with Lionsgate will mean for members everywhere, Val Boreland, the service’s Executive Vice President of Content Acquisition said:

Movies are among the most-streamed titles on Peacock, and we continue to expand our premium film offering from top studios, like Lionsgate, to ensure customers enjoy a steady stream of the biggest and best films to enjoy throughout the year. Lionsgate is home to blockbuster franchises from John Wick to the newly announced Hunger Games prequel The Ballad of Songbirds and Snakes, and we’re excited to provide viewers an exclusive window to enjoy the Lionsgate slate of feature films across NBCUniversal platforms.

#tbosas #the ballad of songbirds and snakes #the hunger games #peacock #the hunger games: the ballad of songbirds & snakes

[deadlinecom]

[newyorkprelawland-blog]

THE TREE LAW: NBC UNIVERSAL AND THE WGA/SAG-AFTRA STRIKE

By Lucia Park, Cornell University School of Industrial and Labor Relations Class of 2026

July 24, 2023

The Writer’s Guild Association and the Screen Actors Guild and the American Federation of Television and Radio Artists (SAG-AFTRA) are on strike against major Hollywood studios. The Writer’s Guild Association voted to call a strike on May 2nd, 2023, against the Alliance of Motion Picture and Television Producers (AMPTP) because of a variety of disputes, ranging from the unfair cut of residuals between writers and the AMPTP, the use of the artificial intelligence like ChatGPT in creative work, and overall, a lack of agreement on a new contract between the two organizations.[i] Film and television productions have been significantly impacted by this, as writers have refused to produce content for popular late-night television shows like The Late Show with Stephen Colbert. This is the first strike since 2007-08, where they also looked for increased funding for writers.[ii] Estimated costs were about $2.1 billion, with a net loss of about 37,700 jobs directly and indirectly tied to the entertainment industry.[iii]

SAG-AFTRA joined the WGA in solidarity on Friday, July, 14th, as they failed to reach a deal with large Hollywood studios. Around 65,000 Hollywood actors have gone on strike, as they claim that studios like Apple, Amazon, Netflix, NBCUniversal, Sony, and Paramount, have refused to negotiate with performers for pay raises and give them shares in streaming revenue, a relatively new service.[iv] Because of this, film and television production has been brought to a halt.

As union members from both groups picketed outside Universal Studies, the company trimmed back the trees that shaded the street where they were, removing shade during a scorching hot summer. Generally, companies are allowed to manage trees outside their property, even though it is owned by the city. They can obtain permits to trim a tree with StreetsLA, which issues these permits to businesses and conducts follow-up inspections. No permit was found filed by Universal for trimming those specific trees in three years. LA City Controller Kenneth Mejia tweeted that his office was investigating the tree trimming that happened outside the studio, as the purview of tree management falls under the Public Works Bureau of Street Services.

This action could be seen as retaliatory, as Universal was “interfering with lawful picketing activity, as designating as picketing locations areas where the public sidewalks have been covered up with construction fencing, forcing picketers to patrol in busy streets with temperatures rising above 90 degrees. NBC Universal has taken responsibility for the tree trimming, saying that they “understand that the safety tree trimming of the Ficus trees we did on Barham Blvd. has created unintended challenges for demonstrations, that was not our intention. In partnership with licensed arborists, we have pruned these trees annually at this time of year … We support the WGA and SAG’s right to demonstrate, and are working to provide some shade coverage” and that they “strongly believe that the company has fulfilled our legal obligations under the National Labor Relations Act (NLRA) and we will cooperate with respect to any inquiries by the National labor Relations Board on this issue.”[v]

In addition to the trimming of the Ficus trees, the WGA has also filed a petition concerning the construction of a “K-Rail” barrier on Lankershim Boulevard, a street where WGA members and supporters have been picketing. On the week of May 8th, 2023, NBCUniversal began a construction project on said street, thus limiting access to picketers as there was no sidewalk. The Labor Relations Unit of the Los Angeles Police Department inspected the conditions on Lankershim Boulevard and recommended the construction of a pedestrian lane of “K-Rails” that would provide appropriate and safe access to gates for picketers and pedestrians. It has been a month since this recommendation was given by the LAPD, and NBC Universal has not provided the necessary “K-Rails”.[vi] Picketing activities are protected by the Constitution and the National Labor Relations Act, and the areas of picketing are allowed to be in public areas around the employer’s property. [vii]

______________________________________________________________

[i] https://www.npr.org/2023/05/02/1172876800/writers-guild-calls-strike

[ii] https://web.archive.org/web/20120313120036/http://www.sltrib.com/entertainment/ci_7372315

[iii] https://laist.com/news/arts-and-entertainment/wga-amptp-tv-movie-writers-strike-whats-at-stake

[iv] https://www.cbsnews.com/news/sag-aftra-strike-hollywood-union-actors/

[v] https://www.theguardian.com/film/2023/jul/19/universal-studios-heatwave-tree-trimming-strike

[vi]https://docs.google.com/forms/d/e/1FAIpQLSdJbtnZjJYw9sX8ZWI7tOOECpKmDqKMrEAkD8qOy3g6E74WhQ/viewform

[vii] https://ibew46.com/media/1142/022009picketlinedosdonts.pdf

[newmaniawe]

How to Watch Peacock on LG Smart TV

Peacock is a popular streaming service that offers a vast library of movies, TV shows, and live sports events. If you're a fan of this service and own an LG Smart TV, you might wonder how to watch Peacock on your TV. The good news is that it's easy to do so; in this article, we'll show you how. Key Takeaways: Download Peacock TV on LG TV Content Store Stream Your Content via Apple Airplay Stream Content through a streaming device For DirecTV users, follow “How To get Peacock on DirecTV” Peacock is a streaming service launched by NBCUniversal that offers a vast library of movies, TV shows, and live sports events. It features exclusive content, including original shows and movies, as well as classic shows and movies from NBC, Universal, and other studios. If you have a premium membership, you can skip the signup step. Because, before implementing any approach for watching Peacock TV on LG Smart TV, you need to sign up for a Peacock TV subscription.

How to Watch Peacock on LG Smart TV

- From Peacock app on LG TV with WebOS version 3.0+.  - Stream your content via Airplay on your LG TV. - Watch Peacock TV using a Streaming Device A. Peacock on LG Content Store Go to the Peacock website or launch the app on your LG Content Store. Click on "Sign Up" and enter your email address and password. Choose a subscription plan (Peacock Free, Peacock Premium, or Peacock Premium Plus). Enter your payment information if you're signing up for a paid plan. From the app, you can stream content on your TV.

B. Stream Peacock via Apple Airplay You can also stream Peacock app content from your Apple device to your LG Smart TV. Download Peacock on your device. Create and log in to your account. Make sure that both your TV and mobile/iPad are on the same Wi-Fi network. Now, open your Peacock app and click on the Airplay button. Now, you can stream your app data on your LG Smart TV. Related: AirPlay Not Working on Samsung TV

https://www.youtube.com/watch?v=uoUTvKPBNuE C.Watch Peacock TV using a Streaming Device This method works well and Peacock TV will work on any TV model which has an HDMI port.

I recommend getting a Roku stick or an amazon fire stick. Both of these media streaming players have the capability of downloading Peacock. You would then use a Roku or fire stick as your main streaming player which bypasses the operating system on your TV. If you want to spend a little more and get a more robust device that gives you a few more options and take a look at the Apple TV 4k. All these devices plug into the HDMI port on your TV. I've had great luck with all these streaming players.

Streaming devices help to stream Third-party apps on your LG TV or Third-party apps on Samsung TV.

10 Reasons Peacock TV is a MUST-HAVE Streaming Service

- Streaming of popular TV shows, movies, news, and live sports events. - Customized streaming options such as personalized watchlists, recommendations, and genre-based collections. - A range of original content is produced by Peacock, including original series, documentaries, and movies. - Ad-supported and premium subscription-based plans, provide users with access to exclusive content, live events, and more. - Downloadable content for offline viewing. - Parental controls allow parents to set limits on what their children can watch. - User-friendly interface with easy navigation and search features. - Multi-device compatibility, allows users to access the service on smartphones, tablets, desktops, and smart TVs. - Closed captioning and audio descriptions for viewers with accessibility needs. - Live news broadcasts and on-demand clips from popular news channels such as NBC News, MSNBC, and CNBC.

How to search for content on Peacock

Peacock offers a vast library of content, so finding what you want to watch can sometimes be a challenge. Here are some tips to help you search for content on Peacock: - Click on the "Search" button in the main menu. - Use the on-screen keyboard to type in the title of the show or movie you're looking for. - Click on the search result to start streaming the content.

How to watch live sports on Peacock

Peacock offers live sports events, including Premier League soccer, NFL games, and more. Here's how to watch live sports on Peacock: - Click on "Channels" in the main menu. - Scroll down to the "Sports" section. About Author Read the full article