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We are so happy to report that The Writers Guild of America (WGA) announced an end to its strike on Wednesday 27 at 12:01 a.m. PT. Yes, the writers’ strike is now officially over. This WGA strike lasted 148 days, marking the second-longest strike in the history of the union. But although difficult for all WGA members involved, the writers’ strike was well worth it. The WGA released the details of the deal it struck with the AMPTP, and the gains and protections for writers, as promised, are exceptional. Happily, as of October 9, the WGA membership voted to ratify this deal, and it will last until 2026.
From issues of AI to streaming data to health insurance, the WGA negotiating committee truly held its ground to receive a deal that meets the needs of its members. The WGA achieved agreement on many points that at one time seemed like an impossibility. But through the mechanism of its strike, the WGA managed to win these necessary evolutions, which will benefit writers today and in the future.
✅Minimum room size.
✅Pay increases.
✅AI can’t write.
✅Disclosure of streaming numbers w/ residuals to match.
✅Guaranteed 2nd step for screenwriters.
✅Script fees for staff writers.
✅Writing teams get full payment into pension (this is huge for me specifically)Hell. Yes. https://t.co/j7HPdCe41r
— Jackson Lanzing (@JacksonLanzing) September 27, 2023
For those interested in reviewing the full agreement between the AMPTP and the WGA, the WGA MBA summary has been released here. Here a few parts of note.
The Strike-Ending WGA Agreement on AI, Writers, and Hollywood
The topic of AI has occupied the mind of many a creative in recent history. Although it seems obvious to creators that AI could never replace the mind and passion of thinking humans, this truth appears less obvious to studios and executives. But happily, the WGA was able to successfully curb AI use in Hollywood, at least where writers are concerned.
The WGA agreement summary notes:
We have established regulations for the use of artificial intelligence (“AI”) on MBA-covered projects in the following ways:
- AI can’t write or rewrite literary material, and AI-generated material will not be considered source material under the MBA, meaning that AI-generated material can’t be used to undermine a writer’s credit or separated rights.
- A writer can choose to use AI when performing writing services, if the company consents and provided that the writer follows applicable company policies, but the company can’t require the writer to use AI software (e.g., ChatGPT) when performing writing services.
- The Company must disclose to the writer if any materials given to the writer have been generated by AI or incorporate AI-generated material.
- The WGA reserves the right to assert that exploitation of writers’ material to train AI is prohibited by MBA or other law.
Basically, AI is out and writers are in. We love to see it.
The WGA Agreement on Streaming Data Transparency
Writers, and many parts of the industry, have felt great frustration over not knowing exactly how their work performs on streaming channels. Of course, not knowing and not getting paid correlate heavily. When it comes to streaming numbers and performance, the WGA’s strike-ending agreement reveals:
The Companies agree to provide the Guild, subject to a confidentiality agreement, the total number of hours streamed, both domestically and internationally, of self-produced high budget streaming programs (e.g., a Netflix original series). The Guild may share information with the membership in aggregated form.
In addition, viewership hours on streaming will factor into bonuses for writers in work created for a High Budget Subscription Video on Demand channels.
The WGA Agreement on Health and Pension Contributions for Writing Teams
It seems wild, but it’s true, that since writing teams were paid together they had to split pension and health contributions. Now, “each writer on a writing team employed for a script will receive pension and health contributions up to the relevant cap as though they were a single writer, rather than splitting the applicable cap.” That, we imagine, is a truly meaningful evolution to those that it affects.
The Writers’ Strike Is Over, What’s Next?
In addition to all of this, many other gains were made in terms of script fees, room sizes, time writers get to spend on a production, and more. When the WGA announced the strike was over on September 27, writers could officially return to work. At the time, the agreement still needed to be ratified.
Happily, as of October 9, 2023, the WGA membership officially voted to ratify the strike-ending contract. Variety shares, “The membership voted 99% in favor of ratification, with 8,435 voting in favor and 90 members opposed.” This new contract will run from September 25, 2023 through May 1, 2026. We commend the writers on all of their hard work and continual efforts to ensure a fair deal for current and future scribes in Hollywood.
While this is great news for writers, the work for unions is not over. SAG-AFTRA remains on strike and has not yet received meaningful acknowledgment from the studios. In fact, a second SAG-AFTRA strike aimed at achieving fair compensation and protections for video game work has been authorized. Members of all unions and non-union members alike should continue to show solidarity and help fight for the good of all. Here are some ideas on how you can help!
Originally published on September 27, 2023.
The post The Writers’ Strike Is Officially Over, WGA Votes to Ratify the Deal appeared first on Nerdist.
We are so happy to report that The Writers Guild of America (WGA) announced an end to its strike on Wednesday 27 at 12:01 a.m. PT. Yes, the writers’ strike is now officially over. This WGA strike lasted 148 days, marking the second-longest strike in the history of the union. But although difficult for all WGA members involved, the writers’ strike was well worth it. The WGA released the details of the deal it struck with the AMPTP, and the gains and protections for writers, as promised, are exceptional. Happily, as of October 9, the WGA membership voted to ratify this deal, and it will last until 2026.
From issues of AI to streaming data to health insurance, the WGA negotiating committee truly held its ground to receive a deal that meets the needs of its members. The WGA achieved agreement on many points that at one time seemed like an impossibility. But through the mechanism of its strike, the WGA managed to win these necessary evolutions, which will benefit writers today and in the future.
✅Minimum room size.
— Jackson Lanzing (@JacksonLanzing) September 27, 2023
✅Pay increases.
✅AI can't write.
✅Disclosure of streaming numbers w/ residuals to match.
✅Guaranteed 2nd step for screenwriters.
✅Script fees for staff writers.
✅Writing teams get full payment into pension (this is huge for me specifically)
Hell. Yes. https://t.co/j7HPdCe41r
For those interested in reviewing the full agreement between the AMPTP and the WGA, the WGA MBA summary has been released here. Here a few parts of note.
The Strike-Ending WGA Agreement on AI, Writers, and Hollywood
The topic of AI has occupied the mind of many a creative in recent history. Although it seems obvious to creators that AI could never replace the mind and passion of thinking humans, this truth appears less obvious to studios and executives. But happily, the WGA was able to successfully curb AI use in Hollywood, at least where writers are concerned.
The WGA agreement summary notes:
We have established regulations for the use of artificial intelligence (“AI”) on MBA-covered projects in the following ways:
- AI can’t write or rewrite literary material, and AI-generated material will not be considered source material under the MBA, meaning that AI-generated material can’t be used to undermine a writer’s credit or separated rights.
- A writer can choose to use AI when performing writing services, if the company consents and provided that the writer follows applicable company policies, but the company can’t require the writer to use AI software (e.g., ChatGPT) when performing writing services.
- The Company must disclose to the writer if any materials given to the writer have been generated by AI or incorporate AI-generated material.
- The WGA reserves the right to assert that exploitation of writers’ material to train AI is prohibited by MBA or other law.
Basically, AI is out and writers are in. We love to see it.
The WGA Agreement on Streaming Data Transparency
Writers, and many parts of the industry, have felt great frustration over not knowing exactly how their work performs on streaming channels. Of course, not knowing and not getting paid correlate heavily. When it comes to streaming numbers and performance, the WGA’s strike-ending agreement reveals:
The Companies agree to provide the Guild, subject to a confidentiality agreement, the total number of hours streamed, both domestically and internationally, of self-produced high budget streaming programs (e.g., a Netflix original series). The Guild may share information with the membership in aggregated form.
In addition, viewership hours on streaming will factor into bonuses for writers in work created for a High Budget Subscription Video on Demand channels.
The WGA Agreement on Health and Pension Contributions for Writing Teams
It seems wild, but it’s true, that since writing teams were paid together they had to split pension and health contributions. Now, “each writer on a writing team employed for a script will receive pension and health contributions up to the relevant cap as though they were a single writer, rather than splitting the applicable cap.” That, we imagine, is a truly meaningful evolution to those that it affects.
The Writers’ Strike Is Over, What’s Next?
In addition to all of this, many other gains were made in terms of script fees, room sizes, time writers get to spend on a production, and more. When the WGA announced the strike was over on September 27, writers could officially return to work. At the time, the agreement still needed to be ratified.
Happily, as of October 9, 2023, the WGA membership officially voted to ratify the strike-ending contract. Variety shares, “The membership voted 99% in favor of ratification, with 8,435 voting in favor and 90 members opposed.” This new contract will run from September 25, 2023 through May 1, 2026. We commend the writers on all of their hard work and continual efforts to ensure a fair deal for current and future scribes in Hollywood.
While this is great news for writers, the work for unions is not over. SAG-AFTRA remains on strike and has not yet received meaningful acknowledgment from the studios. In fact, a second SAG-AFTRA strike aimed at achieving fair compensation and protections for video game work has been authorized. Members of all unions and non-union members alike should continue to show solidarity and help fight for the good of all. Here are some ideas on how you can help!
Originally published on September 27, 2023.
The post The Writers’ Strike Is Officially Over, WGA Votes to Ratify the Deal appeared first on Nerdist.
For 21 years, the city of Wichita has hosted the Tallgrass Film Festival in Kansas. This festival which proudly boasts to be “stubbornly independent”, showcases some of the best of indie films from around the world. This is through an annual 4-day film festival, year-round special screenings, filmmaking competitions and filmmaker labs.
The in-person and virtual festival runs Oct 5-8. The films in competition have been awarded. However, there is the audience award that is still up for grabs. The festival keeps going until October 30th virtually, which means you can watch films from the festival and vote for who you would like to win the audience awards to be announced November 1.
Here at BGN we always like to highlight Black excellence in entertainment — the following is a list of Black films and filmmakers with official selections at the festival. There are Black-centric films featured on this list with non-Black directors. As well as films with Black directors that are not specifically focused on Black experiences.
FEATURES
Elizabeth Gray Bayne – Chocolate Milk
Chocolate Milk explores racial inequities in birth and breastfeeding in the US by following the stories of three Black mothers in South Los Angeles over multiple years – a new mom, a WIC employee and a homebirth midwife.
Lagueria Davis – Black Barbie: A Documentary
Through intimate access to a charismatic Mattel insider, Beulah Mae Mitchell, BLACK BARBIE delves into the cross section of merchandise and representation as Black women strive to elevate their own voices and stories, refusing to be invisible.
Nicki Micheaux – Summer of Violence
Refusing law school to pursue poetry, a sheltered college grad, cut off from her father’s money, struggles to survive while living in Denver during the Summer of Violence in 1993.
William Forbes and Douglas Skinner – Name of the Game
The untold story of black male exotic dancing in south Los Angeles and how it intersects with the origins of hip hop, gang culture, and kung fu assassins.
J.S. Hampton – The Unseen
A witch from the 1850’s is transported into the head of her descendant in modern Kansas City, who is tasked with helping get her ancestor’s body back.
SHORTS
Shequeta Smith – Dick Control
Richard Tye “Trigga” Simmons, a rich, promiscuous, jet-setting rapper, has a one-night stand with a beautiful groupie who happens to be a witch. When Tye disrespects her, she places a curse that can’t be broken until he learns how to respect women.
George Ellzey Jr. – Cottage Grove
A young man struggles to communicate with his stroke-afflicted father, and at the same time, stay true to himself.
Destyn Fuller-Hope – A Part of You/ Made Me Whole Again
Two Lives. One Gift. A post-kidney transplant memoir, told as a dream-like prayer to Mom.
Kameishia Wooten – Choices
Hidden away under the bleachers at school, free-spirited Aisha gives a pregnancy test to Jessica, a cheerleader and prom queen contender, who’s terrified of what the results might mean. They are joined by their childhood friend Portia, who has made her own decisions about motherhood. The three reconnect over their circumstances and celebrate all of life’s choices.
Bailey Williams – Black People Surf?
A documentary that chronicles the renaissance of Black surf culture in Southern California.
It’s no secret that Black people are not the first that come to mind when you think of water activities or surfing. But what if we told you there were communities all around the world where Black folks are meeting at the beach and communing in the water to dispel those ideas?
This documentary follows the founders, instructors, and surfers who are committed to building a more inclusive surf community through their collectives and non-profit efforts. We hope this film will help inspire those who do not know how to swim into changing the tide.
Anndi Jinelle Liggett – Jelly
A young, Black girl with a peculiar fascination with death tries to solve the mysterious case of a missing neighbor while coming to terms with a more personal disappearance.
David Fortune – Shoebox
After sweeping hair at a local barbershop, a 12-year-old boy hopes to make a purchase that will bring honor and healing to his loved ones.
Frederick Thornton – October Mourning
Grieving the unexpected loss of his father, Henry Sims gets a chance to have one more conversation with Dad.
Directed by Tessa Slovis and Written by Bukola Ogunmola – Falsies
Robert is applying for his dream job at Harborville Corporation. But with the change comes the aching weight of feeling the need to fit in. Gail is trapped in the monotony of marriage and motherhood. These strangers world’s collide when Gail becomes the sole witness of racially charged violence against Robert. In a tailspinning, time bending 13 minutes, FALSIES examines white female complicity, the necessity of action, self actualization and acceptance.
Robert Brogden III – Robert & Billie
A generational love story set in the historic town of Nicodemus, Kansas, the only remaining western settlement founded by formerly enslaved Black Americans following the Civil War. Robert works as a maintenance man at the Nicodemus National Historic Site, tending to the very building where he met his wife, Billie, over sixty years ago. A few years after her passing, Robert reflects on their shared life and love.
Kris Bailey – I Am Brihanna Jayde
The 2023 Kansas All American Goddess gives viewers and listeners a glimpse of the Drag Queen life and what it means to live life authentically as a gay man.
Benjamin Shimwa – Inner Sounds
After a car accident ends his singing career, Louis rediscovers his musical passion through the keys of a piano, inspired by a heartfelt conversation with his sister.
Hophni William – The Ballad of Rich and Champ
Rich and Champ arrive at their nightly stomping grounds for some easy money at the billiards table. The pair have different aims for their lives, but their working relationship keeps them moving in the same direction. The night cruises along like any other until a new challenger drops more money than either man expects on the table. When everything’s on the line, Rich and Champ will learn who each other really is.
Geoff Ross – This Is About The Census
A loyal citizen is called into a government office to answer a life or death question: why does the census only have one person?
Niki Taylor Roberts – Go To Bed, Raymond
A father discovers the surprising truth about why his son won’t go to bed.
Not every film is available online, to select which films you would like to stream you can click on the hyperlink in the title. Deadline is October 30th to submit your vote.
Jordan Peele has proved he is a horror genius by making us face personal traumas in Get Out and Us, while discovering sinister experiences in Nope. He is continuously changing the landscape of the horror genre, with his use of social commentary.
Out There Screaming: An Anthology of New Black Horror is a horror anthology by Black authors edited by Jordan Peele and I was so excited to read this. As we know, Peele definitely has an eye for a good story so I was very intrigued. The collection is a mix of horror, science fiction, folklore, and social commentary from the perspective of Black experiences that grapple with death, grief, racism, technology, and spirituality. Overall, this was a brilliant anthology filled with cosmic horror to psychological horror to your typical hauntings and haunted houses.
One thing that works for this collection is how differently the stories are. I wouldn’t be able to put any two stories from this collection together and say they felt similar, so I think anyone who picks this collection up will be able to find something they like.
With anthologies, my intention is to read two or three stories a day instead of trying to read it in big chunks. I managed to do that and it helped my enjoyment of it, as I never felt weighed down. Some of these stories are a little heavier in theme so reading them back-to-back wouldn’t have been the best idea.
This book was a great introduction to several new-to-me authors in a genre I’ve started to delve into more deeply. It’s also an outstanding example of the diversity of storytelling that exists within it. There were a few standout stories and authors I’m especially excited to read more from, but the anthology as a whole captivated my attention.
From psychological horror to monster hunting to alien abduction to folk/spiritual horror to contemporary history, this collection has varied ideas. Some of the stories were gut punches but perfectly paced and focused. Others felt like they could have benefitted from 50 more pages and being made into novellas.
The first story in the collection is Reckless Eyeballing by N.K. Jemisin. Black cop Carl sees eyes on car headlights which leads him to suspect that the drivers are guilty of crimes. Jemisin knows how to tell a story! The ending was a bit of body horror.
Eye & Tooth by Rebecca Roanhorse is about a sibling duo, Zelda and Atticus, who are supernatural hitmen, if you will. They accept a job in rural Texas from a woman with a supernatural creature problem. So, think creepy farmhouse, creepy cornfields, and creepy child galore. The atmosphere and setting were spooky. All of these elements drew me in quickly. But the ending was too abrupt for me. I wish there were more hints for Zelda’s powers. It felt like it came out of nowhere, but for a short story, I suppose it worked.
The Rider by Tananarive Due is a story of two sisters, Pat and Priscilla, who are involved in the Freedom Riders movement during the Civil Rights era. They take a bus to Montgomery, Alabama (or try to, anyway). I loved the historical aspect combined with a creepy monster devil. Thank goodness their plans didn’t work out!
My other favorites in this collection are The Most Strongest Obeah Woman of the World by Nalo Hopkinson. Yenderil swims to the bottom of the blue hole to kill the beast that haunts her village. But instead, the beast latches itself to her. It’s a combination of body horror and cosmic horror. It was gross and cool at the same time. The Norwood Trouble by Maurice Broaddus is about a young girl who experiences a lynch mob in the years before civil rights was initiated in the United States. I was expecting a short story with a historical setting where racism itself is the monster and this was definitely it. There is a quote from this story that stood out for me:
“Know your place. Stay in your place. But if you build your place into something nice, they want to take it from you. All they needed was an excuse.”
Within the 19 stories, some paint a bright image, some just get under your skin, some are bleak and dark, and some came through with a sense of hope, but they all force you to ask yourself, what is it that horrifies you? What is more frightening to you: a supernatural entity, or a police officer in a small town? What about your place in history? Regardless of what you see when you stare at the horrific, there is something in this collection to excite you, and something that will dig its way into your mind, blurring what you thought you knew to be safe.
In 1973, The Exorcist appeared in movie theaters. Three years later, writer James Baldwin shared his thoughts about the film in The Devil Finds Work, a book-length essay about racism in American cinema. Baldwin felt that the most memorable scene, a young girl twisting her head 360 degrees, was horrific but not for the obvious reason: that white Americans could watch it but have no real fear, by contrast, when imagining the everyday horrors of life as a Black American.
To Baldwin, the film was designed to horrify white Americans, who would have no idea of what it was like to be treated as inhuman. “The mindless and hysterical banality of the evil presented in The Exorcist is the most terrifying thing about the film,” he writes. “The Americans,” he continues, “should certainly know more about evil than that; if they pretend otherwise, they are lying, and any Black man … can call them on this lie; he who has been treated as the devil recognizes the devil when they meet.”
What I appreciate about Peele is that he is using his immense platform and influence to elevate the work of Black horror writers and stories. These stories are grounded in many different aspects of the Black experience, although not always explicitly, and this is what connects all of these diverse stories. I loved the inclusion and discussion of race and being Black in America in some of these stories. It really goes back to the question: What is it that horrifies you? Because for Black people, our answers will be quite different than others.
I highly-recommend this book for those that love horror stories, as well as those starting to dip their toes into the horror waters. It blends non-fictional themes with social and psychological aspects of the Black experience. The quality of the stories and the variety of horror represented makes this a 5/5 star read for me.
Out There Screaming: An Anthology of New Black Horror is available October 3, 2023 wherever books are sold.
The ending of The Wheel of Time’s first season brought a small taste of the Seanchan and the immense power they wield. The new enemy arrived in the finale’s last moments, sailing towards a beach in massive ships, bringing a One-Power-made tsunami with them. As the show’s gone on, we’ve seen more of the Seanchan and their lack of mercy. The Seanchan demand fealty. Period. And they have the strongest of the Forsaken, Ishamael, at their side. If you’d like to know more context about the Seanchan from The Wheel of Time books without any plot spoilers, keep reading.
Who Are The Wheel of Time‘s Seanchan?
In season one of The Wheel of Time, characters mentioned something happening with ships in the west. Mysterious occurrences in the west come up in season two, as well. The Seanchan (pronounced SHAWN-chan) have arrived from that direction. But just who are the Seanchan? Well, they have an extensive history in The Wheel of Time books, but we’ll summarize.
The Seanchan empire calls a continent of the same name home in the world of The Wheel of Time. It sits thousands of miles west of the main continent, across the Aryth Ocean. After the Trolloc Wars (the same war that saw the fall of Manetheren), Artur Hawkwing sent a fleet across the ocean. Luthair Paendrag, Artur’s son, led the fleet and started a nearly 800-year process to unite the native nations, a.k.a. the Consolidation. This Consolidation formed the Seanchan Empire, ruled by an Empress or an Emperor with a very rigid class structure.
And now the Seanchan want to retake the continent their ancestors came from. They call it the Return. The Seanchan have been planning and gathering forces and supplies for the Return for decades in The Wheel of Time‘s universe. They’ve made their move thanks to Ishamael’s encouragement. And they’ve arrived in Falme with incredible numbers and formidable warriors, including a number of enslaved channelers. We see all of that in play when the Seanchan attack an unsuspecting village, Atuan’s Mill, and capture the Shienarans and Loial in The Wheel of Time‘s second season.
Alwhin tells the captives, “When the fleet of Luthair Paendrag crossed the Aryth Ocean, the return was promised.” She promises that those who swear fealty “will share in the prosperity of the Seanchan’s return, from Atuan’s Mill to Falme, to our great empire across the sea.”
Later, High Lord Turak explains the Seanchan’s purpose while scolding High Lady Suroth. They want to unite all the people of the world under their Empress to fight the shadow.
Who Rules the Seanchan?
The Seanchan have an Empress or Emperor, but their ruler doesn’t participate in the first wave of the invasion. Instead, we meet High Lady Suroth; she appears to be leading the Seanchan forces. She’s the one taking oaths of fealty in Atuan’s Mill. This The Wheel of Time season two character is part of Seanchan nobility, also known as the Blood. Originally, Seanchan nobles were strictly descendants of Paendrag, hence the name the Blood. However, as a reward for service to the Seanchan, non-descendants are occasionally raised into nobility.
The High Lady Suroth is a member of the High Blood, which sits below only the Seanchan’s Imperial family. The High Blood have the most significant leadership roles. Members of the High Blood shave the sides of their heads and grow two fingernails long and lacquer them. The color of the lacquer is connected to the wearer’s house. As we saw in The Wheel of Time TV series, when the Blood fail in some way, punishment involves cutting their nails, which they hold as a symbol of status. High Lord Turak inflicts this punishment upon Suroth.
Members of the Low Blood are still Seanchan nobility in The Wheel of Time, but they don’t hold positions of great importance.
The Seanchan Threat to Women Who Channel in The Wheel of Time
One of the primary reasons the Seanchan are such threatening conquerors is because they enslave female channelers. As we see in Atuan’s Mill, the Seanchan can identify women who channel. Soldiers then take the channelers into captivity. Women called sul’dam control the enslaved’s every moment of channeling. They call the enslaved channelers damane, which means “leashed one” in the Old Tongue. Seanchan use a ter’angreal, an object made from the One Power, to control women who have the ability to channel. It’s called an a’dam and depicted as a collar with a literal leash to a bracelet the sul-dam wear. Sul’dam means “leash holders” in the Old Tongue. When the sul’dam captured Egwene, we saw the leash. It also demonstrated sul’dam will take damane from wherever they find them and absolutely kidnap Aes Sedai. Damane are forced to enslave other damane.
As we’ve seen from the sul’dam “training” Egwene until she breaks, damane cannot ignore commands from sul’dam. They cannot remove their bonds without experiencing great pain. Damane cannot even think about harming a sul’dam. The connection the a’dam maintains damane and sul’dam prevents it. Escaping from a sul’dam is near impossible. It’s why Ryma has been trying to understand how to work the a’dam she shows Nynaeve and Egwene. She wants to set her captured sisters free.
The Seanchan sul’dam train damane to use the One Power as a weapon—something Aes Sedai make an oath not to do in The Wheel of Time. It’s a horrific use of the One Power, unlike anything we’ve seen in the TV series so far.
The Seanchan and the Battle of Falme
When the Seanchan invaded Falme, the Watchers of the Waves, a group who believe Artur Hawkwing’s descendants would return one day and maintain a watch, sent pleas for help around the world. No one answered, except for the Whitecloaks. They made a plan to remove the invaders and with the help of the Heroes of the Horn, they succeeded. The Seanchan were defeated in The Wheel of Time season two finale. Moiraine used the One Power to destroy their fleet of ships on the ocean outside Falme.
However, it’s unlikely the Seanchan are off the board as a threat. Their numbers are vast. They believe in their Empress’ cause. The Seanchan are probably here to stay.
Originally published on September 1, 2023.
The post Who Are THE WHEEL OF TIME’s Seanchan? appeared first on Nerdist.