WEBVTT - Is Hollywood back?

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<v Speaker 1>My name is Lily Maddon and I'm a proud Arunda

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<v Speaker 1>Bunjelung Calcottin woman from Gadighl Country. The Daily oz acknowledges

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<v Speaker 1>that this podcast is recorded on the lands of the

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<v Speaker 1>Gadighl people and pays respect to all Aboriginal and Torres

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<v Speaker 1>Strait Island and nations. We pay our respects to the

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<v Speaker 1>first peoples of these countries, both past and present.

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<v Speaker 2>Good morning and welcome to the Daily os. It's somehow Monday,

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<v Speaker 2>the second of October.

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<v Speaker 3>I'm Zara, I'm sam. We begin with breaking news now

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<v Speaker 3>at six with major developments from Hollywood overnight.

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<v Speaker 4>The Writer's strike reaching its final act. The Writer's Guild

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<v Speaker 4>of America says it has indeed reached a deal.

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<v Speaker 3>After one hundred and forty eight days of strike action.

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<v Speaker 3>The Writer's Guild of America has reached a deal with

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<v Speaker 3>Hollywood Studios and that means their strike is officially over.

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<v Speaker 3>So what have they agreed to and does this mean

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<v Speaker 3>film and TV production is back on track or will

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<v Speaker 3>the actor strike still slow things down? TDA factchecker and

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<v Speaker 3>resident Film of Fishinado, Lucy Tassel, will join me to

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<v Speaker 3>discuss it in today's deep dive, but first the headlines.

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<v Speaker 3>US President Joe Biden has signed a short term funding bill,

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<v Speaker 3>avoiding a full shutdown of the US government. The bill

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<v Speaker 3>was passed by Congress only hours before the deadline. The

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<v Speaker 3>government now has enough funding to last until the seventeenth

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<v Speaker 3>of November and does not allow the government to implement

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<v Speaker 3>the planned increased funding for Ukraine's war against Russia.

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<v Speaker 2>The Royal Commission into Violence, Abuse, Neglect and Exploitation of

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<v Speaker 2>People with Disability has handed down its final report that

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<v Speaker 2>was made available to the public on Friday, so we

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<v Speaker 2>now know its contents. Among thirteen volumes of four and

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<v Speaker 2>a half years of findings, the Commission reported people with

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<v Speaker 2>disability are subject to higher rate to violence, neglect and

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<v Speaker 2>abuse than Australians without disability. The Commission also made two

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<v Speaker 2>hundred and twenty two recommendations, including reform across areas like education,

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<v Speaker 2>employment and housing.

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<v Speaker 3>A massive weekend of sports last night, the Penrith Panthers

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<v Speaker 3>won the NRL Men's Grand Final, beating the Brisbane Broncos

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<v Speaker 3>in a thrilling game at Sydney's Acre Stadium. It was

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<v Speaker 3>the greatest comeback in NRL Grand Final history after the

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<v Speaker 3>Panthers overcame a sixteen point deficit to win twenty six

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<v Speaker 3>twenty four. It was their third premiership in a row.

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<v Speaker 3>Earlier in the day, the Newcastle Knights beat the Gold

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<v Speaker 3>Coast Titans in the NRLW Grand Final.

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<v Speaker 2>And I'm being told this is good news. A new

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<v Speaker 2>electric blue spider has been discovered in Thailand. It's considered

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<v Speaker 2>especially significant as the color blue is one of the

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<v Speaker 2>rarest colors found in nature. The team who found the

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<v Speaker 2>spider will now auction off the right to name the

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<v Speaker 2>species to raise money for charity. Well there you.

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<v Speaker 3>Go, Lucy, welcome back to the podcast.

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<v Speaker 4>It's so good to be here.

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<v Speaker 3>So you've kind of become tda's Hollywood correspondent, not so

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<v Speaker 3>much of the actual going to Hollywood bit, but the

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<v Speaker 3>inn house Hollywood correspondent over the last few months. And

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<v Speaker 3>you've kept us up to date on developments with the

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<v Speaker 3>Writers and Actors' strike. What news you bringing us today.

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<v Speaker 4>Well, huge news. The Writers Guild has ended its strike,

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<v Speaker 4>so the WGA, the Writers' Union, has reached an agreement

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<v Speaker 4>with the big Hollywood studios. So all of those eleven

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<v Speaker 4>thousand writers who are covered by the union went back

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<v Speaker 4>to work, or at least could go back to work

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<v Speaker 4>starting from last Wednesday.

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<v Speaker 3>And I guess the way that materializes for us is

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<v Speaker 3>more stuff on our televisions and our movie screens. We'll

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<v Speaker 3>get there in a sec. But first, how did we

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<v Speaker 3>get to this point?

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<v Speaker 4>Well, let's recap. There's two bodies you need to understand.

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<v Speaker 4>So we've got the WGA, which is the union that

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<v Speaker 4>represents writers for TV and movies. So that's everything from

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<v Speaker 4>Barbie to the Drew Barrymore Show, so that include talk shows,

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<v Speaker 4>that include scripted television like dramas like Outer Banks. So

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<v Speaker 4>the WGA represents all of those people. Then there's the AMPTP,

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<v Speaker 4>which is the group representing the studios that actually fund

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<v Speaker 4>and produce these shows and movies, so the Alliance of

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<v Speaker 4>Motion Picture and Television Producers. So they represent groups like Amazon,

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<v Speaker 4>like Apple, NBC, Disney, Netflix, Paramount, all the big players

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<v Speaker 4>exactly the names on TV channels. That's who the AMPTP represents,

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<v Speaker 4>and that's who the WGA negotiates their multi year contracts with. Basically,

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<v Speaker 4>if there's a contract, then writers from that union can

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<v Speaker 4>write shows that the AMPTP puts on air. Got it

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<v Speaker 4>so earlier this year May the second, the WGA actually

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<v Speaker 4>voted to strike because their contract that was up earlier

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<v Speaker 4>this year had lapsed and they weren't able to come

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<v Speaker 4>to a new agreement. And there were a couple of

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<v Speaker 4>different reasons for that. I mean, it's not an overstatement

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<v Speaker 4>to say that the landscape of film and TV has

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<v Speaker 4>changed so incredibly dramatically, has been completely upended by streaming.

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<v Speaker 4>It looks completely different to how it did twenty years ago,

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<v Speaker 4>with the rise of things like streaming services, with AI,

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<v Speaker 4>with the pandemic, a lot of things have changed very dramatically.

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<v Speaker 3>And you and I did a podcast episode where we

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<v Speaker 3>kind of went a bit deeper into those issues. I'll

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<v Speaker 3>put a link to the episode we did on the actors'

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<v Speaker 3>strike in the show notes. But today we're talking about

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<v Speaker 3>the end of the writer's strike. So you say they've

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<v Speaker 3>now reached an agreement. What have they agreed to.

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<v Speaker 4>Well, one of the main things that the writers were

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<v Speaker 4>asking for was better pay. So one of the ways

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<v Speaker 4>that writers make money is through residual payments, which are

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<v Speaker 4>ongoing payments given to the cast and crew of particularly

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<v Speaker 4>TV shows, whenever they're rerun or released on d That

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<v Speaker 4>was all changed by streaming. So one of the things

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<v Speaker 4>that has changed is that pay overall is better. So

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<v Speaker 4>writers are going to get annual minimum pay increases of

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<v Speaker 4>five percent, four percent, and three and a half percent

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<v Speaker 4>over the course of their new contract with the studios.

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<v Speaker 4>So the expiration of the previous contract obviously started the strike.

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<v Speaker 4>The next one expires in twenty twenty six. Until then

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<v Speaker 4>they're getting yearly pay rises. Another huge change which based

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<v Speaker 4>on what I saw online, this was one of the

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<v Speaker 4>biggest developments for writers. This was the sort of thing

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<v Speaker 4>that people were saying. They said it couldn't be done.

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<v Speaker 4>And that is a minimum number of writers employed in writers'

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<v Speaker 4>rooms who are guaranteed a set term of employment. So

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<v Speaker 4>for people like you and me, we go to work

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<v Speaker 4>every week knowing that our job continues, even though we

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<v Speaker 4>work at a startup. There's still an element of job

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<v Speaker 4>security that a Hollywood writer does not have. If your

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<v Speaker 4>show gets canceled, that might mean that ten weeks of

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<v Speaker 4>work that you were banking on for the next year

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<v Speaker 4>are no longer there.

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<v Speaker 3>Well, the number of shows that have a pilot episode

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<v Speaker 3>and then are stopped after that.

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<v Speaker 4>Mascically, yeah, so you have you know, three weeks writing

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<v Speaker 4>for the pilot and then after that, good luck. Maybe

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<v Speaker 4>you won't here for six months. So to have ten

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<v Speaker 4>weeks guaranteed employment is huge. That's going to be a massive,

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<v Speaker 4>a massive lifestyle change for a lot of people, I think,

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<v Speaker 4>probably for the better.

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<v Speaker 3>Do you think that will mean that studios are taking

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<v Speaker 3>less risks if they have to lock in ten weeks employment,

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<v Speaker 3>That's entirely possible.

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<v Speaker 4>That is always the flip side of the coin is

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<v Speaker 4>that with these gains for writers, you might get different

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<v Speaker 4>business decisions being made.

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<v Speaker 3>Interesting.

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<v Speaker 4>I think the argument that writers would have for taking

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<v Speaker 4>these potential risks, certainly in negotiating with studios, is that

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<v Speaker 4>studios have already made financial risks by going all in

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<v Speaker 4>on streaming. So things have already changed.

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<v Speaker 3>And part of what has really changed is the AI space.

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<v Speaker 3>And you and I spoke about that a lot a

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<v Speaker 3>couple of weeks ago. What sort of agreements around AI

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<v Speaker 3>have been reached?

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<v Speaker 4>This is another huge agreement. So back in May, writers

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<v Speaker 4>were asking for One of their original demands for their

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<v Speaker 4>new contract was regulating the use of AI on projects

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<v Speaker 4>covered by their contract. So they specifically said AI can't

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<v Speaker 4>write or rewrite material, can't be used as source material,

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<v Speaker 4>and our material can't be used to train AI. So

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<v Speaker 4>that was the writer's pitch, and the amptp's response was

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<v Speaker 4>that they wanted to have annual meetings to discuss advancements

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<v Speaker 4>in technology. So that's where negotiation kind of broke down.

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<v Speaker 4>What has changed is that the AMPTP has agreed artificial

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<v Speaker 4>intelligence can't be used to produce or edit written material.

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<v Speaker 4>Writers can choose to use AI, but studios can't force

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<v Speaker 4>them to do so, got it. Okay, a huge step.

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<v Speaker 4>That's one of the things that's come out of these

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<v Speaker 4>many months of strikes and negotiations.

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<v Speaker 3>So another big factor in these negotiations was residuals. I

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<v Speaker 3>feel like we've explained this a couple of times, but

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<v Speaker 3>in case we've forgotten, that's the money writers would make

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<v Speaker 3>from series like Friends or Seinfeld when they get rerun

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<v Speaker 3>on networks, and they kind of can make that in

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<v Speaker 3>perpetuity forever, exactly right, what's the update here?

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<v Speaker 4>So streaming residuals were a very different beast. That's one

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<v Speaker 4>of the reasons that writers wanted to negotiate for a

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<v Speaker 4>new contract, so to compensate for the fact that residuals

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<v Speaker 4>don't act in the same way on streaming. This new

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<v Speaker 4>agreement introduces viewership based residuals to award bonuses to the

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<v Speaker 4>writers behind content that performs well with US subscribers. So

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<v Speaker 4>writers involved in projects that reach a certain viewership threshold

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<v Speaker 4>in their first three months of release, we'll get extra money.

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<v Speaker 4>If you remember, when we first talked about residuals on

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<v Speaker 4>the pod, we heard about cast and crew of Oranges

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<v Speaker 4>the New Black getting tiny checks in the mail despite

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<v Speaker 4>that show having been huge on Netflix. So any writers

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<v Speaker 4>associated with whatever the next massive Netflix phenomenon is that

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<v Speaker 4>will not happen to them. Actors, however, are still negotiating

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<v Speaker 4>that kind of thing. Residual payments for content viewed by

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<v Speaker 4>overseas subscribers, so people like you and me will increase massively,

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<v Speaker 4>So huge, huge gains for residuals. As for transparency, so

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<v Speaker 4>obviously you and I don't know how many people have

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<v Speaker 4>viewed a Netflix show. We only hear what Netflix has

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<v Speaker 4>told us. So the AMPTP agreed to share international and

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<v Speaker 4>domestics so Hollywood streaming numbers with the Writers Guild. That's

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<v Speaker 4>subject to confidentiality, but it means that writers will actually

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<v Speaker 4>know how many people have watched their shows, which they

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<v Speaker 4>weren't allowed to find out before.

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<v Speaker 3>Okay, So both parties have signed this agreement. What happens

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<v Speaker 3>from here and how quickly can we expect to see

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<v Speaker 3>our favorite shows back on television or on.

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<v Speaker 4>Streaming, Well, that depends. So the agreement has been accepted

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<v Speaker 4>by the union's leadership, which means that writers were able

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<v Speaker 4>to go back to work. It does need to be

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<v Speaker 4>voted on by those writers. That's going to be happening

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<v Speaker 4>over the course of this week and next, but it's

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<v Speaker 4>expected that they will agree to the agreement.

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<v Speaker 3>So it's not an one hundred percent done deal, but

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<v Speaker 3>it's pretty likely that this is going to be the

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<v Speaker 3>state of play.

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<v Speaker 4>It would be very, very surprising if the membership of

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<v Speaker 4>the WGA said, we don't accept this agreement and we

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<v Speaker 4>want a better one.

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<v Speaker 3>Okay. So from there, that's when everyone goes back to

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<v Speaker 3>set and writers' rooms and starts producing stuff.

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<v Speaker 4>Right, Well, they go back to the writers' rooms. They

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<v Speaker 4>don't go back to set because SAG after the Actors'

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<v Speaker 4>Union is still on strike. Okay, they went on strike

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<v Speaker 4>in July. That's when we first talked about this on

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<v Speaker 4>the podcast. So actors performers, all those one hundred and

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<v Speaker 4>sixty thousand people covered by SAG after they're all still

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<v Speaker 4>on strike. However, as you're listening to this pot cast

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<v Speaker 4>right now, the leadership of SAG AFTRA has actually gone

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<v Speaker 4>back to the negotiating table with AMPTP and that's inspired

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<v Speaker 4>by the success of the WGA agreement. So we could

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<v Speaker 4>be seeing people back to set soon. We're not sure.

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<v Speaker 4>It's going to depend on how things turn out over

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<v Speaker 4>the next couple of days.

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<v Speaker 3>So big step forward for writers, but we'll have to

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<v Speaker 3>watch and see what happens with actors exactly. Lucy, thank

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<v Speaker 3>you so much for joining us on the Daily OZ today.

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<v Speaker 2>Thanks Sam, thanks for listening to today's pod. If you

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<v Speaker 2>learned something from today's episode, don't forget to share it

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<v Speaker 2>with a friend. We'll be back again tomorrow morning, but

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<v Speaker 2>until then, Happy Monday.