Animation scripts can be written again
https://variety.com/2023/biz/news/writers-strike-ends-wga-amptp-deal-2-1235733452/
 Shopping Cart Returner Shirt $21.68 |
 Tip Your Landlord Shirt $21.68 |
Shopping Cart Returner Shirt $21.68 |
Writers Guild of America and AMPTP reach tentative deal, ends strike after 146 days
Is the voice actor strike not happening then?
Actors strike continues but will probably be ending soon if this is a guide. They were separate situations.
This is already very close to the all-time record for the industry. Studios were getting close to unrecoverable territory. Can't go multiple quarters with no income on the way.
Uh huh. And you have a source for that, do you? You know the membership still has to approve it, right? So if it's worse they will simply knock it back?
Is that people always blame hell and earth on the writers strikes back in the 2000's. Like CN real, and a lot of reality shows being a thing or shitty movies with ungodly scripts that were just made because the script as sitting there.
I was too young to remember the exactly details on how things went down, I think at time my shit was more astrology and such instead of common entertainment. Is just that in a way we barely felt any difference this time around, I was thinking writing strikes were those things that lasted years and that's why all that crap was made.
>You know the membership still has to approve it, right? So if it's worse they will simply knock it back?
use your head. strike means no work. no work means no income. who do you think can sustain that condition longer? the writers who are striking precisely because they are underpaid or the people with all the money?
Maybe you should use yours. If that was all it took to break a strike, it wouldn't have gone on for this long. The whole point was to wait out the studios, who everyone involved knew from past experience start shitting themselves once strikes go past about 3-4 months, which we saw when they started suspending their development deals in a last-ditch effort to save money. We're well past the point where striking people who truly couldn't survive without work would have picked up other jobs.
>If that was all it took to break a strike, it wouldn't have gone on for this long.
you're fricking moronic, going this long was the whole point. make the poors starve, then offer a shit deal that they have no choice to take.
make no mistake, not one studio exec truly gives a shit if they have to scuttle the whole industry. it's like you've never heard of a golden parachute.
That was quick. I was expecting to last years or so.
Oh boy I can't wait to watch um... uh...
Severely underrated
There is enough media out there right now to last an open minded person a lifetime. Why are we making more?
They are encouraging rapid development of LLM replacements. Lets be real, the kind of people who watch goyslop wouldnt be fazed by a ChatGPT script
>There is enough media out there right now to last an open minded person a lifetime. Why are we making more?
Underated bait
It's not wrong. We have a century of movies, 70 years of television, and current culture is garbage and can only produce garbage.
>Strike for 146 days
>Get absolutely nothing for your time and effort
>Deal is worse than what it was originally
And this is why no one respects unions
They learned literally nothing from the last time they had this tantrum
The details were not even released publicly yet as it has not been voted on yet so it's good to see the Cinemaphile liars have already begun to crawl in
According to the NYT live feed, the studios essentially caved on almost everything. As they should.
>According to the NYT
Well then we know whatever they're reporting is bullshit.
Yeah, how dare they report on what the people involved are saying.
Try not to be a complete fricking moron for five seconds.
Right but anonymous poster on Cinemaphile is 100% reliable.
SAUCE???
You can just load the home page to see the headline. I thought it would be readable for anyone, but it turns out I have access because of my office. Basically, the writers' negotiators are saying they got most of what they wanted on every point of contention and are making happy noises, while the studios have been dead silent instead of attempting spin. I'm sure somewhere else has this covered too.
>the studios essentially caved on almost everything
Good
Greedy bastards. Make them bleed.
I really don't get how the frick Cinemaphile sides with the CEOs on this one.
Cinemaphile hates both and would rather let the strike go on.
Because half of the people on Cinemaphile are braindead consoomers who want their new marverlinos and starwarsinos right fricking now.
Because the writers are cringe lefties, while the CEOs are based socipathic alpha males!
because the writers are trash and deserve to be fired.
Based. Frick rich people. May they all burn in hell for practicing the sin of greed.
Awesome. Won’t even cost the billionare frickheads even 5% of what they gain each year but it took 100 days and public humiliation for them to realize that.
Velma alone gives me a warm, fuzzy feeling knowing the kind of people who wrote THAT got turned out on the streets. Having said that, I’ve no love for the CEOs who hired them either.
For me, there is no losing outcome for this shit. In the end, both the corrupt institution of Hollywood and the suits bankrolling it got their time wasted while I’ve been comfortably watching free indie documentaries
That was a Mindy Kaling joint, wasn't it? She's one of those people who had development deals, which are their own special kind of shit based in corporate fear of risk. They see someone did something popular once or has some kind of public cachet and assume that will result in a succession of hits, when in reality this has only happened a few times and very few people are Norman Lear.
The peppy indian girl from The Office, yeah. God, that was a while ago. But the point is I’m dimly aware she’s entrenched enough to be much more up the ladder than the average striking writer though not real big as producers go-at least as far as I know. And that’s why I don’t care WHO gets hit by this, writers or suits. Whatever concessions were extracted, whoever quietly cleaned house, I simply hope whoever greenlit the first season of that bullshit takes a long, hard, serious look at whether it’s worth continuing in the current environment.
>God, that was a while ago
Translation: you know nothing about her career
Why the frick would I want to? If Velma’s any indication of it’s quality I’m glad I only remember her from The Office.
>when in reality this has only happened a few times
But that’s not true at all. Just look at all the popular and well known show runners for one thing with string of hits. It doesn’t guarantee every time they make a giant hit movie or show. That’s not the point. The point is that the studio has first bite at every project someone successful is working on so they don’t miss out on a mass hit. You know, like how Warner Bros. lost Nolan and now he did Oppenheimer, the biggest and most successful biopic of all time for another studio and WB is head palming themselves for letting him walk after Tenet.
Kek you just know at some point some WB suit has floated the idea of hiring Nolan to helm the DCEU even though he is clearly done with capeshit.
>at some point some WB suit has floated the idea of hiring Nolan to helm the DCEU
Wasn't that the idea from the start? They wanted him for Man of Steel.
Yes, that's what I was talking about (paying someone for them to pitch ideas at you with the right to buy). I could perhaps have been clearer. But I think people like Nolan are special. They're bankable names and can basically do what they like regardless of deals. Others are a risk that's considered safe in spite of not having a great track record of hits.
Even bankable names can make bombs, dude. Development deals exists because it’s easier and safer to have people on the payroll than constantly running around asking for people to pitch for you. You develop relationships and stability and loyalty from talent. Any new project is a risk by default. There is no such thing as a safe bet.
>even bankable names can make bombs
No one said they couldn't. You're not really saying anything here that I disagree with. The point is they're seen as low-risk but also discourage interesting or high-quality programming because they're often not bankrolled for being interesting and usually not for being auteurs.
>also discourage interesting or high-quality programming
WTF are you talking about. It’s the studio that goes nope on that shit when talent tries to pitch them high concept shit. It’s the executives who always insists on dumbing it down and going for the lowest common denominator. It’s the people upstairs who first spend money putting talented people on development contracts and then get pissy when they’re presented projects that are exactly what they paid for because it’s too auteur-ish or weird instead of safe and copy pasted from what other studios are making.
That is literally one of the most common complaints you hear from filmmakers who talk about this shit. You make a successful film and studios come running to you, begging to sign exclusive deals with you while praising you as a genius. But once you’re locked in and making a new movie suddenly the studios start sending you completely idiotic notes and want changes that would water your film down because now suddenly they’re afraid your work is too weird and auteur like to be successful even though they just paid you millions to make more movies like that to them.
Just look at MCU where they initially hired people like Kenneth Branagh to make movies for them because they want the movies to have an identity and be more than dumb capeshit but then kept micromanaging them to death and ultimately they started hiring TV directors and turns out they have entirely different people to come in and do all the action scenes and filmmakers basically have little creative control over the films because everything is decided behind their back and changes are constantly happening even as the movie is being made.
>According to the NYT live feed,
[citation needed]
I'm convinced the whole thing was an elaborate theater play to discredit unions, given how these "Revolutionaries" were white-collar liberals from Hollywood all this time.
Unions can't help you when your work is worthless.
You could hire a hobo from the street with food stamps and you'd get about as good writing as they get these days.
And you would still whine like a b***h about it because that’s all you can do at this point.
Well, that and point and laugh at the shit writers getting shit pay.
Source: Dude Trust Me
Could this mean all shows will get either canned & canceled anyways?
No, because the companies still have to make money and they won't do that by not making product. Once the actor strike ends, everything that wasn't cancelled will be resumed unless there's some catastrophic scheduling problem.
But time scheduling is what causes lots of stressing delays.
Yes, so we shouldn't be surprised if some things do get canned or delayed even more due to actor unavailability. But it's not going to be some wholesale reset like some people seem to think. It's not like this is the first time it's happened, and there weren't general resets before.
I vaguely remember that period, and I think you're right about reality tv becoming more of a presence afterward, but that was one of those situations where the writing was on the wall. Reality TV is a lot cheaper to make than traditional scripted fiction, and every network in the world started ramping up production of that stuff at the same time. (It still needs writers though, so they weren't out of a job.)
Still kinda feels off that this deal might not be considered 100% promising.
This is normal in industrial negotiation. Both sides will start with an ideal position and try to give away as little as possible, but in practice it's rare to get everything you want, even if the other side isn't acting in good faith.
lol that isn't how it's ever worked and it has no chance of working now
Like how many bad writings & project cancelations we can expect from plenty folks who are indeed terrible from the start?
That's a decision for studio executives. Who knows what their books look like? But they are also responsible for most bad narrative decisions; writers actually have very little control over productions unless one of them holds a more powerful position like directing or producing, and even then they're beholden to execs. So it's really anyone's guess what might be written off.
Oh man. Those actors & writers are gonna be so dead broke when they gonna realize their expectative raises are turn out more even not highly enough.
They already know that. Unlike a lot of manufacturing and government unions, where negotiations are mostly about tinkering at the edges and occasional significant raises, 99% of hollywood union membership is people just scraping by. These negotiations have negligible effect on the most famous members (who were often donating money to guilds to help out); the goal is to raise the floor for the ones who haven't Made It and are trying to turn the work into a real career.
To an executive in any business, a proven property is a safer bet than trying to make something new or interesting.
What if it's a new property that can poop out gold and fart diamonds?
Yeah but they don't know that. Business school training frowns on taking expensive risks, and entertainment has become more and more risk averse over the past 40 years. It's probably a function of having fewer people in power who actually give a shit about what they're making. They're just generic businessmen.
What about shittywood pumping hundreds of millions or more into SINGLE projects? Proven property or no, haven't they hxy22heard about putting all one's ovum in one woven recepticle?
That's one of the major problems, in my opinion. If you dump your resources into a tentpole project and it doesn't meet expectations, it's a disaster. Cleopatra was a famous warning against that kind of thing, but I'm sure we've all noticed them moving more and more toward banking on a few major "safe" (boring, predictable) productions each year and hoping none of them bomb. The era of big studios financing lots of smaller genre movies and experimental or innovative TV is mostly over, at least until there's some kind of corporate reckoning.
Hopefully they'll bet big and fail enough so we can go back to kino being produced on shoestring budgets.....one can deram, anyways.
Someday. I don't think the current model is really sustainable.
At the moment all we can really hope for is that they got their demand for smaller, longer-term writing gigs improving the material they're directed to pump out by not bringing in 50 people to contribute a handful of lines.
the problem is that networks got addicted to the idea of perpetual growth, which is not sustainable. At some point they reach equilibrium and kind of max their potential (without figuring out some sort of paradigm shifting 'new angle'). Instead, they've opted to start gutting production budgets and running leaner/faster which has had an affect on quality which then has an affect on viewership. They're doing it to themselves because they can't accept the fact that it's not possible to post record-breaking profits every year forever.
I'm hoping the indie renaissance will help with that. If studios start seeing people become more interested in non-safe indie productions, they'll want to start getting a piece of that action.
Lackadaisy just raised 2 million dollars in like a month. Let's hope that's just the beginning.
You got to spend money to make money. But that’s a double edged sword when you become over reliant on insanely expensive projects that NEED to make a billion to generate any profit, which is the problem Hollywood is facing today after spending over a decade having Avengers money and relying more and more giant blockbusters to make enough money back pay for all their other productions that don’t necessarily make a profit.
Yeah, that's gonna smart so bad. I can see them bleeding through broke glass all over.
It depends. Like Disney isn't going to cancel Family Guy since it's still popular
>writers strike
But they suck at writing
There are good writers out there but they need to be paid well and given enough time to do their work.
A huge part of the problem has been that production timelines keep getting shorter and shorter so people need to shit out scripts as fast as possible. Networks have been chasing maximum profits at the expense of quality.
Don't blame the writers. The people who devote their lives to fricking writing actually give a shit about writing well and are likely more upset about not having the time or resources to make better shit.
It's the same shit that happened with Linus Tech Tips. The engineers/testers/writers wanted more time to do things properly, fix mistakes, and be thorough, but Linus et al wouldn't allow people to take the time they needed so they put out shitty and often incorrect information.
Dumb consoomer homosexuals will never understand. They need new content NOW NOW NOW.
And if the overworked writers don't make good shit, they turn around and blame them.
Of course, actual bad writers exist. Ken Penders, JJ Abrams, people on Wattpad...
>tentative
I don't see that happening unless the CEOs want to be buttfricked on the government and open their books.
https://x.com/pk_kenzie/status/1706137747541700637?s=20
>The Animation Guild will most likely be striking when our contract ends next year. Please keep up the same support for us as you guys did for the WGA when our time comes as well
lmao
this is the animation board, and i really do care, but it’s never gonna happen
I was hoping this would last much longer and the shit quality of writing would be positively affected somehow. Instead it's already over.
It will absolutely be positively affected by less writers getting jobs and more having time to either get good or find their audience
The union had to fold because if things went on any longer they'd just cut the guild loose and start hiring non-union writers. It's not even that hard just grab some industry guy who knows how things works and a published author to create storyboards together.
>The union had to fold because if things went on any longer they'd just cut the guild loose and start hiring non-union writers
They would have done that from day 1 if that was an option lol, get real anon.
I love how stupid fricks like this pretend they understand anything about what they’re talking about
Too bad. I was hoping all of Hollywood would go bust. Frick em.
All studios have to do is allow writers, artists, and animators work from home anywhere in the United States. Then they can play them like 75k for their work instead of 175k or more.
Most writers would probably be thrilled to make 75k. The current practice is to hire a bunch of writers to dilute the writing pool so much that nobody gets paid anything and all the writing is lowest common denominator stuff written to order. This is one of the thing the strike was about. Unironically asking for fewer writers on each project so they would know what they're doing and have a normal income for longer periods.
>>......and all the writing is lowest common denominator stuff written to order.
Oh, so that's why a good chunk of the current stuff(shitty to middling reboots of old
shows, generic new shows filled with "current year" garbage, et al) be how it be.
So they want to increase the exclusivity of the career. Frick 'em. Writers will write for free as a hobby. They're incredibly spoiled for demanding anything.
nobody invited a 12-year-old's opinion
Fight me. How am I wrong?
You're entitled to people making shit for you for free.
Which shows were using scripts anyway? Aren't the majority storyboard-driven?
Are you moronic?
Literally every show has a script, at least for voice lines and actions.
Yeah but if the show is storyboard-driven and the basic script is written afterwards not having writers does not really change much
you have that backwards. If a show is board driven, the writers come up with a basic story arc, and the storyboarders end up putting the dialog together. That's assuming there are actually dedicated writers. These days storyboarders are expected to take on more and more roles (which sometimes includes being THE writer). It's been problematic.
None of these writers for animation were WGA. The animation industry was never affected by this strike.
Some shows aren't affected, but a lot of them are. Even board driven shows often have writers. While they may not create every line of dialog, they will help create the arc of a story.
NOOOO!!
Oh good, more garbage.
Oh good, my favorite goyslop peddlers can afford to live in the hellscape they voted for.
The shambling corpse marches on…
Just in time for election season. Time to btfo drumph californiasisters
Was anything achieved?
Likely not. But the Guild will cover their ass about it till it's voted through then reveal the members got fricked over.
Just like government
The entire membership has to vote on the terms, numbnuts. Same way they had to vote on whether or not to greenlight the strike in the first place
Dang I was hoping it would last until the incoming recession and BTFO the current Hollywood system. Oh well, another decade of misery.
Regardless whatever side "won" Hollywood is still dying. If the writers somehow got their Golden Ticket that'll just accelerate studio collapse. If the Studios fricked them over then the Guild will lose membership. Either way a win win.
These “artists” strike for money, not for better opportunities to make good cartoons. In their mind, they’re already doing such a good job, they deserve to be paid more. Riggers won. Beanmouth won. Humanity lost.
Writers don't decide what stories get told, anon. This wasn't an executives strike.
Writers can strike to get Mr. Moneybags to pay them why can’t they strike over creative exhaustion? A movement in the industry would IMMEDIATELY get audience support.
But no, show me the green. I need more boba tea.
Like the '08 Strikes The Teamsters had to come in and show them how to strike because they were treating it like a damn party. Ordering Coffee and Muffins while chatting it up.
If you're standing outside for several hours you're going to want to eat, drink water and chat with your fellow strikers to keep up morale. I don't see your point, that they should look miserable?
They needed to act like they have a shit and we're fighting for something. They did not. Hell this round was only slightly better than the last one in their attitudes.
They just had actors that had long since earned all their "frick you I've got Mine" money so they had no risks.
>They needed to act like they have a shit and we're fighting for something.
Yeah, anon, that's what the picketing and chanting outside of studios was for. This is how strikes work, you stop your labor and voice your demands publicly until a side caves.
>Showing an ancient pic of the Communist back Disney strikes.
Now show the '08 Strikes Loser.
>All those disinterested faces wondering why they are holding the signs.
Such a laugh
being out in the streets is beneath alot of these writers
if they could've gotten a bunch of illegals or unpaid interns to strike in their place while they stay at home they would've done it in a heartbeat
>can't chat and relax
>can't look stern and serious
It doesn't matter what they do, you're just against the idea of striking period.
Or maybe he hates race grifters and pink capitalists
What they're striking for has nothing to do with those 2 buzz phrases, moron. Show me in the WGA demands where they talk about race or even diversity at all.
Do you have brain damage? My point was that their previous actions put people against them, but now that I think about it they are asking for money to continue the same actions.
Writers should be paid based on the quality of their product, which is bad, so they get paid very little. Fair pay doesn't mean high pay
>Writers should be paid based on the quality of their product
Not applicable at all when writers are forced to make changes all the time to their scripts and have no absolute creative freedom. You also clearly understand nothing about how many revisions and different writers can work on any given movie and show, making your argument even dumber
>which is bad
Entirely subjective and when you say shit like “le everything is bad!” it invalidates your opinion even more.
Who decided that Velma was going to twerk at a corpse in the season finale? You pretending that writers don't write isn't going to work, we know they are political activists because they spent their free time on X
Who the frick even asked for Velma?
I'm using random examples of bad writing on specific scenes that obviously weren't decided by the executives because they don't spend all day supervising the script. More examples here
Execs like Iger ARE the reason we get woke shit like this
Because
1. They demand diversity and woke hires
2. They actually are the ones asking for content to be made woke (for example: There's many examples of recent TVA shows that only got approved if the main character got changed from their original appearance to non-white)
If you have any way of firing the executives we are all ears, because what you suggest is giving money to the same ideologues the executives already hired.
I'm talking about bad writing. Learn to read.
Keep pretending that writers don't write, maybe someone will believe it.
So you're saying that bad movies always have identity politics, and the ones that don't have identity politics like Top Gun Maverick, Oppenheimer and Avatar 2 are good? Interesting pattern
How is twerking bad writing?
Bad movies have nothing to do with identity politics. Avatar 2 is woke as frick due to its inherent environmental messaging. Like always you just ignore everything you would normally whine about as being woke of you happen to like it.
If you'd stop defending literal garbage just because you don't like them being called "woke", I don't think we'd be having thos conversation. But nope. for some reason, you feel that you must defend them no matter how bad they are, lest they get called the dreaded "w" word. You'd rather preten shit like the new Saints Row Reboot isn't woke.
>Avatar 2
A literal rehash of the exact same plot as the first Avatar which was a 100% unoriginal ripoff of better movies and nobody would give a frick about either one of them if they weren't sold as "ooh look pretty 3D shit"
And it did over 2 billion worldwide
>box office = quality
I don't work for Disney, I don't give a frick how much money they made on a shit movie
>inherent environmental messaging
The environmental message is not to live in a pod with no air conditioner, meat or pets, but to stop stealing resources from other nations, the reason given is that their culture is valuable. And the story ends with the MC joining them, unlike the woke media created to divide people. How many people have been called racist, homophobic or misogynist for not supporting the product of a corporation?
>cancelled for not supporting the products of a major corporation
Yes anon, anyone who stands against transgenderism, ESPECIALLY when it’s being pushed onto children, gets cancelled for standing in the way of the profits of big pharma. That’s why the justice department sent the FBI after parents for standing up against it at PTA meetings
Proof?
There isn't any. Like much of the hype, it's just that - hype. The whole 8 or so child abusive trans people really don't hold a candle to the hundreds of pastors, church ministers, and straight republican males who have been diddling kiddies, and they definitely don't want you thinking about how it's okay to maryya nd impregnate 10-13 year olds who can't have abortions.
But yes, it's the trannies that are a threat.
Why can't we criticize both?
Well that's not very "woke" of you, is it?
Proof that the writers are willing participants in this propaganda targeted towards children? Your eyes and ears anon
Lol I get constantly attacked for being a Catholic who intensely condemns all those sins the industry really likes. Even posting a drawing or a couple pages, as well as making the overall comics and cartoons communities hostile to the idea of looking at them
1. Shut up atheist 2. Transgenderism is inherently abusive, it is primarily transmitted through mental abuse like attacking a man's financial opportunities or telling little kids that Finn hasn't earned settling down with a princess
>All you can do
You think that getting to work in Los Angeles animation is so glamorous that overrules the cartoons being shit, nobody wanting to watch them or care about your existence. Your freakish attitude is held by few
They run Hollywood, they always did but now it's a message of genocide from them
So the only thing that can be done is start anew in a new location with new animators and hope they don't become execs. That's how CN/AS became so good for awhile until Hollywood execs came in
Oh so a dance is inherently woke now? Give me a break. What is this, the puritanical times?
>What is this, the puritanical times?
god, i wish. everything would be perfect if it was all ran by the puritans.
>puritanism is good
>post a picture of a half naked male model
>Who decided that Velma was going to twerk at a corpse in the season finale?
What's bad about that? It's hot
First off, it's not one of the hot Velmas.
I don't even know where to start with this.
You sound like a middle schooler getting mad that their favorite band did something that would make them money. When you grow up you might understand that getting paid for work that you do is kind of important.
They should earn what they receive. If they're making failure after failure like the fungies, they should worry about keeping their jobs. But of course they tend to be spoiled kids who have no concern for anything but their fantasies and can throw around clout
You can make all the deals you you want but it's not going to bring back the audience. NOTHING will stop kids preferring Skibidi Toilet to watching Marceline and princess bubblegum be lesbians.
Well, most of the time the writer isn't responsible for pitching a piece of media. But their argument isn't about exhaustion anyway, it's that current practice doesn't allow any creativity because they're stuck doing piecemeal shit in the current netflix-style production model.
Yeah some unions are just not aware of what it takes to fight management. There's one in an area adjacent to where I work that thinks piddling work stoppages for a few days in one area are going to make them blink.
Which makes me doubt the Studio actually "caving" Hell Warner Bros was actually saving money after their string of flops.
They lost 300-500 million from the strikes and none of their James Gunn DC shit has started being written yet. They needed this to end.
>Warner Bros was actually saving money
cite your sources
The trick is they're not "caving" in a financial sense. It been public knowledge all along that the strike is entirely because the studios wanted to frick over their employees and it would have cost them far less to simply agree to all demands immediately. By agreeing now, they're agreeing to stop hemorrhaging money.
Why not hire scabs instead?
The short answer is it's dangerous for the company to risk bankable talent and it's dangerous for talent that wants to be bankable in the future. There are other reasons why it usually doesn't work in the long term for any modern industry, but that's legal shit.
Yes, she's a big enough figure to get a deal, but in her case it seems to be largely based on the Office, unlike some of the others like Ryan Murphy, who have actually done more than one thing that was successful or acclaimed.
>but in her case it seems to be largely based on the Office
You could at least spend two minutes on Wikipedia before spouting this shit
Why? That's what she's most known for and what got her her deal. Her other significant piece was considerably less widely known.
There is a non-zero chance that is in fact Mindy seething about never escaping the shadow of The Office.
Oh well. At least she’s not Pam’s actress
I think Mindy would be trying to claim the Mindy Project was a cultural phenomenon rather than admit a remake she worked on was her great contribution to entertainment.
>suddenly
? She had a development deal before the Office was even over.
Oh yeah. They suddenly gave her the job based on an old show that ended ten years ago. That’s totally how Hollywood works.
It's why the Indie Tuber scene is still the best.
>source: dude, you can tell
You can tell based on the rhetoric that they care about money not the industry.
Say what you want about John K. being a homosexual (I don’t even like his cartoons) but the guy pressured the industry and we need people doing that. The industry is moving at a glacial pace and the anime machine keeps on turning.
I mean...yeah? People do jobs to get paid money so they can live life.
>Cites John K as some sort of hero
ok, nm. You should have just opened with the fact that you're a soft-brained moron.
So, once again, they aren’t artists. They’re laborers.
>Ignores that I immediately prefaced him by calling him a homosexual
Bad faith as always.
yes anon, when an artist uses their creative skill to work on someone else's project they are laborers and they need to get paid for their labor.
As long as we agree they aren’t artists. They’re just there to push out slop like the 70’s and 80’s.
You're not too keen on logic or proofs, are you?
I didn't say they aren't artists, but artists who are hired to work on someone else's production are also laborers who need to get paid for their work.
If they’re there for a paycheck and that’s what they care about, they aren’t artists. Might as well be computers.
No innovation, no jostling the system, no pushing boundaries (outside of safe political and safe horny) nothing. Clueless losers.
You have never been hired to do creative work, that much is clear.
Judging by your attitude, neither have you. Put the square peg in the square hole, monkey. We need more lowest denominator content for the masses. They won’t know any better, we don’t offer anything else.
Here you go:
https://milnepublishing.geneseo.edu/concise-introduction-to-logic/chapter/4-proofs/
If you had that sort of attitude in child care you would get slapped and likely quickly end up in legal trouble.
Making children's cartoons is the same kind of thing but y'all think it's okay to shovel out whatever garbage you want to make in front of the nation's kids. thankfully, they choose not to watch
>moron
Your idea of intelligence is intensely cringe
>John K.
>east vs west gay
Opinion fricking discarded
>Thought terminating cliche
I thought so.
>DEBATE ME
Why? You're moronic. I can think of more enjoyable ways to waste time.
If your only skillset is weak zingers you might as well be replaced by AI.
>Dude it's so exciting to participate in the industry culture
Yeah that non-moronation is not going to last long buddy. Serious expiration date
I'm one of the most normal ones
They are already financially compensated. They don't have a glamorous fantasy career they thought about in their childhoods, and are immensely frustrated it's not real. They can't make people like the cartoons, but they can demand more money for shit work
>Humanity lost.
Ah yes the sum of humanity, cartoons
Passion. Art. Creativity. Culture.
If art means nothing then writers are just taxi drivers or milkmen
>how dare these people want to be financially compensated for their work
What if their work is a flop that cost millions in loses?
>What if their work is a flop that cost millions in loses?
producer failed so they get fired.
next.
So if we got to the point where your argument is "writers are an assembly line following orders" then why should we even care about them? You aren't describing artists, you are describing food workers, and those are being replaced by machines
that isn't my point.
you might be moronic
>You can only make a fuss over a single issue
This industry is fricking dying.
Maybe if writers want to be financially compensated, they should learn to write better. Just saying. How many other industries hinge on political correctness as an excuse for poor performance?
>I’m just saying I’m a moron
Yes. That is very clear
>You’re STUPID for not paying for current year South Park!!
Let me try to explain this in terms you understand: At this point I just want the entire industry to burn, for serialised shows as a whole to fall out of fashion like stop motion animation and silent movies, and for you, personally, to be turned out of home and house.
What the hell is the Mindy Project?
The Mindy Project was what came out of her first development deal. When that was over, she signed another development deal.
No but WHAT is it, I know the fact I’m asking this question proves my point but I seriously want to know what that actually is. Did…did she really think people wanted a MINDY spinoff of The Office?
Shit one about Dwight’s life on the farm would’ve been more of a hook.
To play devil’s advocate for a moment, as someone who doesn’t follow the union very closely is it possible they want longer term guarantees of employment and future opportunities?
The issue there is the use of 'mini-rooms', where they hire only a small number of writers but also give them shorter work periods and just as much work as a larger room. In any other industry, no one would question that it's bad practice to assign more work to a smaller staff if production processes are the same.
On your other question, I think it was a comedy? It ran on Hulu, so who watched it?
>To play devil’s advocate for a moment, as someone who doesn’t follow the union very closely is it possible they want longer term guarantees of employment and future opportunities?
The increased pay is supposed to give you that job security for your gig job, what the union really wants is to get higher union fees.
So you want to have your cake and eat it too. You want studios to stand all the risk while you get the benefits when the show is a success but lose nothing if is a flop (possibly by your own fault)
>Let me be clear: I am a stupid edgelord
You didn’t have to repeat yourself
Pay that rent, hack. Pay it NOW or get ready to blow your landlord for two more weeks.
their writing was good enough to deliver Hollywood record profits. that was literally one of the main points of contention of the strike.
meant for
as well
Them let's remove pay and increase residuals. If your movie/show is a success you will get more money that way
>Them let's remove pay and increase residuals
would it be so hard for hollywood to just pay both?
one payment for working on it
and a recurring pay thats based on its success
its literally what they fought to have while working on television
>would it be so hard for a notoriously corrupt, degenerate and immoral industry to take care of the little guy when the little guy isn’t a superstar or CEO?
Yes. The answer is yes, it would be hard to find basic human decency or even pragmatism in fricking Hollywood of all places. Remember how long Weinstein got away with what he did?
Ah. That makes sense going by Hollywood historically, and as for the other thing yeah that’s why I wouldn’t count it as a plus for Mindy’s career.
From how the article https://www.thewrap.com/writers-rooms-wga-strike/ describes it, the real problem is using mini-rooms to get a bunch of episodes predrafted at minimal pay and then only hiring a supervisor and a skeleton crew of new writers for actual production, meaning fewer jobs, no training or experience for newer writers and less seasonal consistency. It seems like a shitty method.
You know, sometimes I'm reminded of how xianxia writers (really shitty genre; don't ask), online novelists like Wildbow and even fricking commissioned fanfic writers get paid enough to more or less make a living. I'm almost tempted to wonder if it wouldn't be good advice for a lot of entry level people in these strikes to just...go indie, try to turn those stories in their heads that the execs won't let them write or whatever into a story. Get an audience for it, make cash over hand NOW. THEN treat it like "work experience" by demonstrating there is a market.
I know I'm being extremely idealistic here with the exposure for online writing being much lesser and how unlikely execs are going to treat every pitch as a moneymaker, but I have to wonder if it really is "worth the dream" to work in conditions like this.
Stay malding, Mindy. Grey those hairs even faster.
If anyone ever wanted proof industry people post on Cinemaphile, just look at some of the seething in this very thread lmao. They can't handle less people like them.
Well, a classical bit of thinking about fanfic is that, if nothing else, it can be good training for serious writing if the writer makes an effort to improve. It's obviously hard to be successful as a self-published writer, but I don't know if that's harder than becoming a successful Hollywood writer.
>xianxia
>Of course, Mayor McCheese saw all this happen through the window.
>Of course, Mayor McCheese saw all this happen through the window.
Frick, I'd actually read a xianxia set in modern America. And yeah with how things have gotten at this point I don't understand why ANYONE would actually want to get into the industry at this point, unless they're the same kind of Star Wars fan that fills their room with the merch, defines their personality around the latest movie and goes to Disneyland 6 times a year.
The industry just seems actively hostile to anyone who wasn't friends with someone already big in there making enough money to have a roof over their head, let alone become the next Spielberg/Lucas/Nolan.
Baby talk ain't gonna pay that rent.
>doubling down on being stupid moron
Cool cool cool
It is a shitty model. David Simon talked a lot about how bad it was just from a practical standpoint. Most people don’t understand writing used to mean you were around until the entire show was in the can, until the last looping and ADR recording was done because you might have to record new line of dialogue to explain something because it wasn’t coming clear enough in the shot footage or some change was required. Because writers are needed to fix shit like that in post and it’s how you also learn on the job about what goes into actually making shit on the set and that experience makes you a better writer when you know what works and what doesn’t and what the limitations are and when you’re part of every step of the production you also learn to become a show runner and gain experience and know what you’re doing when you eventually might land a show running gig. Now that most writers gigs are being turned into couple of weeks of gig jobs that is not possible and it hurts people’s writing quality because they can’t improve and learn from mistakes and grow as a writer, because executives only care about money not quality.
>and as for the other thing yeah that’s why I wouldn’t count it as a plus for Mindy’s career.
And you’d be ignorant because it was very well received and acclaimed and ran for six fricking seasons.
>durrr but I didn’t watch it
So fricking what. It was a successful show despite your ignorance. Then she did another successful show for Netflix you probably also didn’t watch and it did well enough to merit it lasting for four entire seasons, and that’s why she then got a development deal for WB. because she’s had an entire decade’s worth of success behind her back. And that, my stupid friend, is what counts in Hollywood. What you did last week. Not what you did ten years ago.
It should be one way or the other. Either you think your product is going to be shit and want to be paid beforehand or risk failure because you believe in your writing and possibly reap the benefits of a product with staying power
>It should be one way or the other
hollywood execs arent exactly lacking in money to do both
>Either you think your product is going to be shit and want to be paid beforehand or risk failure because you believe in your writing and possibly reap the benefits of a product with staying power
TV actors are paid once up front to actually do the acting
and they get paid residuals afterwards, a few cents off every DVD sale
they just want that for streaming services
because they arent just paid less upfront, but they are paid less in residuals if at all
and this one is blatantly unfair because shows are rerun in perpetuity on streaming services
But writers actually produce enough value to be paid more considering the shit they have been creating and the classic franchises they destroyed?
Yeah. There's more to writing than the few Star Wars and rebooted films you watch, anon.
Name 5
The Bear
Kevin Can Frick Himself
Everything Everywhere All At Once
Oppenheimer
Nirvanna the Band the Show
Just a few good shows and movies I watched this year
Oh and I'll add the Venture Bros movie, of course.
Those writers are going to get their money via residuals without need for an upfront payment
so people should be paid less for their job as a matter of principle?
writers are being paid way less than they should be and you want the already wealthy execs to continue pocketing that money because you dont like what they make?
Its executives demanding classics to be wrung out for all the money they can squeeze out of them. Why do you think there have been so many live action remakes no one has asked for?
It's kind of baffling they refuse to give up after the increasingly disappointing performance of those.
In theory it's a cheap investment. Existing IP and fanbase, barely have to have the writers do frick all, reshoot classic animations as live action, profit?
Was the executive who wrote the scene were Pinocchio contemplates a literal pile of shit or it was the writer?
There's been another Pinocchio? I don't keep track of half of the shitty remakes.
>Oh yeah, what about this one scene in a movie? It’s emblematic of all writing!
But that said, studio notes can be entirely random and ridiculous so there very well could have been a note that said “kids love poop humour, the movie needs a poop joke”.
What about Mulan having superpowers? What about Peter Pan's lost boys having girls despite the lore reason for them being male only is that girls were too smart to fall for tricks? What about Ariel being heartbroken about Eric's statue now that she doesn't love him? What about Snow White's Evil Queen being on a murder rampage to become the most noble person on the kingdom?
Could be studio notes. You’re not making any kind of good argument, you’re just doing whataboutism with random scenes.
>writing was good enough to deliver Hollywood record profits.
They don’t.
They do. The companies for years made giant profits until Covid happened and that pushed a giant change in behaviour.
Key phrase
>until Covid
They aren’t bringing in the money anymore.
And that’s because customer behaviour has changed. Acting like if you just removed all the things that trigger chuds movies would magically make record profits again is delusional. But then again go woke go broke crowd has never been in touch with reality to begin with.
>And that’s because customer behaviour has changed.
Yep and now the industry now has to change. Expecting the same pay and residuals as before is delusional. Especially when you’re work is worse
>Acting like if you just removed all the things that trigger chuds movies would magically make record profits again is delusional.
Making the same shit now sure ain’t helping. The same California losers and the moronic boomers execs jerking themselves off isn’t going to being in the profits anymore. The average Hollywood exec used be in their thirties. It’s time for new blood.
Those were 4 years of propaganda that were given the benefit of the doubt by naive normies. Now it's been 8 years and normies are fricking tired, they recognize the patterns so almost every Disney and DC movie flopped this year
I have a sneaking suspicion the deal isn’t very good.
NYT is Gaslighting to get the Eastern Guild to approve of the deal before they actually see it.
WGA is claiming all 5 of their major demands were met to an exceptional level
Then the Studios will collapse and shows will die. They've already had several Showrunner say they'll go indie if they have to be saddled with a whole room of writers they don't want.
Good thing that's the opposite of what the guild asked for then, isn't it?
>I have a sneaking suspicion the deal isn’t very good.
Kek they got a worse deal than they had before. The strike was just the studio cleaning house.
Keep in mind VFX and Animation strikes are next. Marvel’s VFX team already voted for unionizing and the animation guild has expressed their desire to strike once their contract is out. Expect more delays to Marvel movies and cartoons in the following months.
>marvel
nothing of value, etc.
*Chester McBadBat zooms through*
>>"I'm ok with this"
Fantastic. Nothing of value will be lost. It’s too much to hope it finally kills the MCU for good but forcing it to scale back can only be a good thing.
>Expect more delays to Marvel movies and cartoons in the following months.
Awesome news. Can't wait.
We need a consumers union. Boycott slop until they make kino again.
>yom kippur ends
>writers all fired and replaced
Industrygays browse Cinemaphile more than any other board by a lot.
Industry people are coming over to do damage control because they know absolutely nobody is begging for their shows back besides the weirdest people on social media
But guy...you are one of the weirdest people on social media
Like people had a summer without Late Night Talk. And nobody gave a shit.
Well that's a good thing definitely. But a tiny part of me was curious to see what life would be like if it went on for like a year. No new episodes of anything. That would've been quite an experience.
In case someone was wondering the last deal was
>Writers will be guaranteed a minimum of 10 weeks of employment and, for Article 14 writers (other than Story Editors or Executive Story Editors), the week-to-week rate of pay will increase by 43.8% over the current rate, raising the rate from $9,888 per week to $14,214 per week.
>Landmark protections for writers surrounding the use of Generative Artificial Intelligence (GAI)
>Source: Deadline
But the WGA rejected it because they want 8 people per writers room
>>(GAI)
Hmm, that does indeed seem to check out
I just want better cartoons. Do fans need a union?
If HEAT hasn’t poisoned the well for “fan unions” in the west small horsie enthusiasts, the szechuan sauce rioters have. But really it’s never going to happen because the amount of people who just want to turn their brains off and enjoy slop after a hard day’s work vastly outweigh the number of people who care about Adventure Time’s lore. And in the end, the studios only listen to money not authorial criticism
Jokes on all the WGA glowies, I bootleg all my shows. Last movie I watched in theaters was The Accountant.
Based. And the best part is the hacks literally can;t do anything about pirate sites because they have no idea who to track and sue.
There was a writers strike?
Pls no
I had no dog in this fight I just wanted them both to bleed.
Darn
I wanted them to drag it out as long as possible
The people currently in the industry need to fricking go and stay go
>Jews didn’t want to work on israeli holiday
>Fires writers after holiday over
This literally happened at least 3 times.
Unironically could of been a good time for animation union to protest but the union is filled with pretentious buttholes like fricking Alex Hirsh and Rebecca suger that don't give a frick for the common man, I hate this shit that no artist stands up to the fricking suits and take it in the ass, fricking no one wants to stand up, it pisses me off
This wasn't the animation union's thing to protest. They agreed to the a deal with the studios years ago. They can't legally strike.
Writers Strikes should never end. Frick Pedowood. Let it burn forever to warm us all.
I see the Weinstein faction is still out in force.
The strike should drag for years so everyone loses money
Tbh I think writers and animators should just
Executives being cheap caused that. Not gay people.
It's both anon, bad programs suck but now people say that even good stuff is woke just because of the gays
The cat is out of the bag, audiences hate it now
It’s cheaper to sell you propaganda then pay for a decent story. I don’t understand why you think propaganda is more dangerous in hands of writers then executives controlled by the highest political bidder.
I don’t think you realize how SMALL the film industry is compared to tech and big pharma (where they pay to tell Hollywood to push gays and trannies). The problem isn’t honestly with the propaganda, that comes with the territory and isn’t hard to avoid putting in EVERYTHING, the problem is the writers and actors drank the koolaid and openly SUPPORT those billionaires destroying the working class with their “art”
I'll be honest, I've extremely rarely been impressed by cartoon writers. At their best they write at the level of ya novel.
Oh good they can get back to writing terrible cringe cinema with vapid characters,plot holes you could sail the Titanic through and stories that make a 8th graders Steven Universe fanfiction look like Tolstoy. Good for them.
>"Give us Internet money!"
So the homosexual is waiting for the thread to reach page 8 to bump then in order to keep the thread alive as long as possible?
just replace them with ai already
>When you control the strike but your agents remind you that you're letting pro-Mormon and Nazi ideas gain large platforms
No matter how many concessions the WGA actually wrangled out, the AMPTP has already won by letting the strike go long enough to be able to cancel a bunch of producing contracts. That number will not go back up to previous highs. Studio outlay will remain the same, if not much lower than the pre-strike era.
There will be fewer writer jobs, because there will be fewer shows period. Even if the WGA was able to ram through the minimum staffing clause, it will not offset the loss of productions.
>lol they’re just gonna make less content now
Sure, sweetie.
>Cinemaphile hates anime
>supports decisions that only help anime gain more ground in the US