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Rachel Maddow topped all cable news shows Monday night. Every single one of them.
Maddow’s MSNBC interview with Cassidy Hutchinson about her book and her time working for Donald Trump yielded a huge 3.3 million viewers at 9pm. Maddow swamped Fox News’s Sean Hannity, who had just 1.7 million dozing fans.
Maddow’s success spilled over to Lawrence O’Donnell and Stephanie Ruhle, each of won their subsequent time slots. Earlier in the late afternoon, Nicolle Wallace also beat Neil Cavuto on Fox. MSNBC held its own the rest of the night, as well.
I told you in May from the Cannes Film Festival that Martin Scorsese’s “killers of the Flower Moon” was a masterpiece of filmmaking.
Tonight the fully packed house at Lincoln Center’s Alice Tully Hall agreed with me, I’m happy to say. When the star studded premiere screening finally finished after three mesmerizing hours, the audience cheered and cheered and stayed through the credits.
Among the stars I ran into were Oscar winners Ellen Burstyn and Tim Robbins — not together. Ellen won her Oscar for Scorsese’s “Alice Doesn’t Live Here Anymore.” She’s almost 91 and looks as elegant and lithe as always. Robbins and I had a warm reunion — we knew each other in the days of “Bull Durham.” He told me he’s living a lot of the time in London.
There was also a nice “Sopranos” reunion of Stevie van Zandt and Michael Imperioli. Rocker David Johansson made a rare appearance, as did Lorne Michaels, Apple genius Eddy Cue, famed Coen Bros. composer Carter Burwell, award winning documentary filmmaker Joe Berlinger with his artist wife, Loren Eiferman, and many members from the Osage tribe in Oklahoma who participated in making the movie. Matthew Broderick and award winning playwright Kenneth Lonergan made it upstairs after the movie to pay their respects to Scorsese at the after party.
But there was no Robert De Niro, Leonardo Di Caprio, or Lily Gladstone because of the SAG strike continuing. Scorsese acknowledged them briefly from the stage, saying, “They’re someplace else” and choosing not to expand on the issue.
Apple and Paramount went all out to make the “Killers” premiere an event. They know they’ve got a Best Picture winner, and maybe even the winner. Scorsese, 81, is at the top of his game as are his actors and his famous editor, Thelma Schoonmaker, who accepted kudos graciously at the after party.
“Killers” opens in limited release on October 6th and wide in theaters on October 20th and it will wait for its time on Apple TV. Schoonmaker implored me to say, “See it on the biggest screen you can, with Dolby if possible!”
Bruce Springsteen has really never missed a show unless COVID was involved.
But now The Boss has cancelled all the rest of his shows in 2023. He’d already cancelled September, but now it’s everything.
The reason is peptic ulcer. Some fans are worried and hope nothing else is going on. Cancelling all his Canadian and West Coast shows is a big deal combined with the September shows he’s missed. All these dates will come back in 2024.
In the meantime, we can just send Bruce good thoughts for a speedy recovery. we need him and the E Street Band on stage! His most recent show at MetLife stadium was a killer! (In a good way.)
(1/5) Bruce Springsteen has continued to recover steadily from peptic ulcer disease over the past few weeks and will continue treatment through the rest of the year on doctor’s advice. pic.twitter.com/rMgZZsKcfo
Donald Trump is on the warpath against Judge Arthur Engoron. He’s decided to “egg him on” with a blistering post labeling the distinguished jurist a “hack.”
Yesterday Engoron essentially ended the Trump Organization with his order in Trump’s New York fraud case. He accused Trump of overvaluing his business and assets by over $3 billion to gain tax advantages.
Engoron took expert testimony that Trump’s Mar-a-Lago estate in Palm Beach is only worth $18 million. Trump is insisting it’s; worth $1.8 billion.
Even the NY Post today got the estimate up to only $320 million thanks to local realtors. That would still leave Trump off by $1.5 billion!
from Trump:
“WE NEED JUSTICE IN OUR COUNTRY! This political hack judge, who values, Mar-a-Lago, the most spectacular parcel of real estate in Palm Beach, and perhaps all of Florida, at $18 million in order to reduce valuations on my financial statements, which are, in fact, lower than my actual net worth, must be stopped. I have had very unfair judges since entering politics, but nobody has been as unhinged as this guy. Mar-a-Lago is worth, perhaps, 100 times more than he values it. Other properties are likewise worth substantially more. I am worth billions more than my very conservatively stated financial statements, and therefore could not have defrauded the banks, who all made money & were all paid back, or are current, with no defaults or any other problem. Additionally, there is a powerful Disclaimer Clause on the first pages of the Financial Statements it states that nothing in the financial statement should be excepted as fact!”
Two years ago, after four years of preparation, the Rarebit set sail around New York Harbor and Lower Manhattan and Brooklyn.
The Rarebit is the wooden boat from the Hemingway era reconstructed by “The Americans” and “Perry Mason” star Matthew Rhys. He’s Welsh, hence the Rarebit.
But Rhys has just announced the end is coming in November. He says in a post: “Very sadly, due to unforeseen circumstance, we are having to close our business permanently at the end of this season. We wanted to say and enormous Thank You to all of you who Chartered with us. As said, our charters will come to an end with close of season – Sunday November 12th so anyone who’d like to sail with us – you still have time! Just a reminder – we have plenty of daytime cruises available. Enormous Thanks – The Rarebit Team.”
No reason was given by his tour company, which he named Moveable Feast, for Hemingway. Rhys owns the 1930s wooden boat with his partner, actress Keri Russell. So before the Sun also sets, give them a call for a last tour of New York’s high seas!
Everyone is elated about the end of the WGA strike. Writers are back to work this morning.
But actress Samantha Mathis, who’s on the SAG AFTRA strike negotiating team, has posted an ominous message to social media: negotiations between the union and AMPTP haven’t started yet. There’s been nothing since July. She says, “We have no confirmed dates scheduled to meet with the AMPTP.”
And that was posted at 8am Eastern this morning. ALmost a day ago, Mathis wrote: “We could meet tomorrow. We are waiting on the @AMPTP to resume talks. As we have been since July 13.”
Fourteen hours later, crickets.
Until the SAG strike is resolved, Hollywood remains at a standstill.
Judge Engoron’s full fraud ruling against the Trumps is below. I’ve reprinted the conclusion below.
He’s rescinded the business licenses aka business certificates of Donald, son Eric, Allen Weissenberg, etc. They can no longer do business. The Trump Organization is over. Please send ideas for repurposing Trump Tower to showbiz411@gmail.com. This decision avenges the people from the Landmark Committee who Donald Trump lied to when he bulldozed Bonwit Teller on Fifth Avenue. Karma can be slow, but it stings.
I like where it says “persistent violations of the law.”
Full ruling here. https://www.documentcloud.org/documents/23991865-trump-ny-fraud-ruling
Eric Trump — the really dumb one married to the nutjob wife — is having a brilliant meltdown on social media.
He writes: “In an attempt to destroy my father and kick him out of New York, a Judge just ruled that Mar-a-Lago, in Palm Beach Florida, is only worth approximate “$18 Million dollars”… Mar-a-Lago is speculated to be worth we’ll over a billion dollars making it arguably the most valuable residential property in the country. It is all so corrupt and coordinated.”
Eric is outraged and says people in real estate circles are laughing at Judge Engoron. But it;s also ALL ABOUT HIM. It’s all “I, I, I.”
He can debate this in jail:
“While everyone can see that this case is egregious, the only thing worse than weaponizing the legal system against a political opponent is unfairly going after their family. Both the Attorney General and the Judge know I had absolutely NOTHING to do with this case. Every single person has testified that my job has always been acquiring, developing and managing properties, not back office functions. The only reason I am collateral damage is because my last name is Trump and I am unwavering in the support of my father, his accomplishments and what he has done for our country, a nation which is now rapidly in decline.”
Saturday Night Live must reunite the Trump brothers when it returns, Mikey Day and Alex Moffat.
Here we go. All we need now is a resolution to the SAG strike and the restaurants will be singing again, paparazzi will be planted out front, and life will be restored to …normal?
Summary of the 2023 WGA MBA
The following is a summary of the deal terms for the 2023 MBA. It is a simplified version of the Memorandum of Agreement (“MOA”), which contains the full text of the new provisions. The language of the MOA controls in the case of any inconsistency with this summary. Unless amended in the 2023 negotiations, the provisions of the 2020 MBA remain unchanged.
1. Term of Agreement
The term of the agreement is September 25, 2023 through May 1, 2026.
2. Minimums Increases
Most MBA minimums will increase by 5% on ratification of the contract, 4% on 5/2/2024 and 3.5% on 5/2/2025. Some minimums and rates increase less, mostly by 3% each year, while a few rates increase only once or do not increase over the contract. These exceptions are the result of patterns established in the industry.
3. Increased Health and Pension Contribution Rate
The Health Fund contribution on reportable earnings will increase 0.5% in the second year of the agreement, from 11.5% to 12%. The Guild also has the right to divert an additional 0.5% in each of the second and third years of the contract from various minimum increases to either the Health Fund or Pension Plan.
4. Increased Health and Pension Contributions for Writing Teams
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. In addition, when a writing team is employed on a series, the contribution for each writer on the team will be made on the full weekly minimum instead of one-half of the weekly minimum.
5. Artificial Intelligence
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.
6. Improved Terms for Screenwriter Employment
Guaranteed 2nd step: A second step is required whenever a writer is hired for a first draft screenplay for 200% of minimum or less, including original and non-original screenplays. The requirement also applies to spec purchases.
Accelerated payment structure for flat deals: Screenwriters hired on a flat deal basis for 200% of minimum or less must be paid 50% of their fee on commencement. If the writer has not delivered within 9 weeks of commencement, 25% of the fee is payable upon invoice. The final 25% is due on delivery of the step.
Streaming features: When a feature-length project is made for streaming with a budget of $30 million or more, the minimum initial compensation for a story & teleplay is $100,000 (an 18% increase from the current rate) and a 26% increase in the residual base. Combined with the foreign residual improvements described below, this results in a 3-year residual of $216,000 for projects on the largest services, a 49% increase from $144,993 under the 2020 MBA.
7. Improved Terms in High Budget Subscription Video on Demand (HBSVOD)
Increased foreign streaming residuals: Foreign streaming residuals will now be based on the streaming service’s number of foreign subscribers for services available globally, amounting to a 76% increase (including a 2.5% base increase) to the foreign residual for the services with the largest global subscriber bases over 3 years. For instance, Netflix’s 3-year foreign residual will increase from the current $18,684 for a one-hour episode to $32,830.
Viewership-based streaming bonus: The Guild negotiated a new residual based on viewership. Made-for HBSVOD series and films that are viewed by 20% or more of the service’s domestic subscribers in the first 90 days of release, or in the first 90 days in any subsequent exhibition year, get a bonus equal to 50% of the fixed domestic and foreign residual, with views calculated as hours streamed domestically of the season or film divided by runtime. For instance, projects written under the new MBA on the largest streaming services would receive a bonus of $9,031 for a half-hour episode, $16,415 for a one-hour episode, or $40,500 for a streaming feature over $30 million in budget. This bonus structure will take effect for projects released on or after January 1, 2024.
Streaming Data Transparency: 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.
Premium for Pilot & Backup Scripts: 150% pilot premium and 115% backup script premiums will now apply to programs made for HBSVOD.
8. Minimum Terms for Advertising-Supported Streaming (AVOD)
High-budget programs made for ad-supported streaming services (including FAST) get the same initial compensation terms as the equivalent programs made for subscription streaming services, including network primetime script fees for the highest-budget series, as well as protections like span (using the basic cable span cap of $375,000) and premium rates for pilots and backup scripts. These programs will also receive a 2% residual for reuse on the AVOD service.
9. Increased Compensation for Series Employment: Weekly Pay and Staff Writer Script Fees
Weekly Pay Increases: The minimum weekly rates for staff writers and Article 14 writers (story editors/executive story editors) will increase by the overall minimum increases (5%-4%-3.5%). The increases for staff writers go into effect immediately; and those for story editors/executive story editors go into effect the Sunday after ratification.
Writer-Producer Weekly Rates: There will be a new writer-producer tier (co-producer level and above) that has a higher minimum weekly rate, amounting to a 9.5% premium over the story editor/executive story editor rate. These rates will go into effect for new seasons that start 60 days after ratification.
Writer-Producer Weekly Minimums
Term of Employment
Year 1
Up to 9 weeks
$11,371
10-19 weeks
$9,476
20 weeks+
$8,524
Development room premiums: Writers of any title working in pre-greenlight rooms of at least 3 writers—including a pre-greenlight room between seasons of a show—will be paid premium rates up to guarantees of 19 weeks. If writers are guaranteed 20 weeks or more the premium doesn’t apply. The development room rates will be 25% above the highest regular room rate. These rates will go into effect for new contracts beginning November 1, 2023 assuming ratification in October.
Development Room Premium Rates up to 19 Weeks
Title
Year 1
Staff Writer
$6,959
Story Editor/Executive Story Editor
$12,978
Writer-Producer
$14,214
Staff Writer Script Fees: Staff writers must be paid script fees for the episodes they write.
10. Staffing and Duration Provisions for Episodic Series
Development rooms (aka pre-greenlight rooms) and regular writers’ rooms for television and HBSVOD series will now have requirements regarding the minimum number of writers who must be hired and the duration of their employment. These new provisions go into effect for seasons where the first episode is written after December 1, 2023 assuming ratification in October.
Development rooms: Once 3 writers are convened before a series order, at least 3 writer-producers (including the showrunner) are guaranteed 10 consecutive weeks of employment.
Development rooms where writers are guaranteed 20 weeks of work or more are treated as post-greenlight rooms. For these rooms on first season shows, the minimum staff size required will be 3 writer-producers (including the showrunner). For these rooms in the second or subsequent season of a show the required minimum number of writers is determined by the anticipated episode order.
Post-greenlight rooms: The following requirements are triggered depending on the number of episodes ordered, unless a single writer is engaged to write all episodes:
# of Episodes
Minimum # of writers in writers’ room
Minimum # of Writer-Producers in writers’ room
6 or fewer
3
3
7-12
5
3
13+
6
3
The minimum staff must be guaranteed at least 20 weeks or the entire duration of the post-greenlight room, whichever is shorter. If there was a development room, the two writer-producers who worked in the development room must be hired for the writers’ room. Weeks worked in the development room can be credited against the guaranteed weeks in the writers’ room, but development room compensation cannot be credited.
Writers in Production: For single-camera series made for HBSVOD and Pay TV that are exclusively filmed in the US and Canada, 2 writer-producers must be employed for the lesser of 20 weeks of production or the duration of production along with the showrunner. The two writer positions can be used for more than two writers provided that the total weeks worked by the additional writers adds up to the minimum required number for each position.
11. Improved Options, Exclusivity, and Span Protections
The salary limit under which options & exclusivity protections apply will increase from $325,000 to $350,000 as of May 2, 2024.
Span protections will be expanded to cover more writers working on short orders, by increasing the cap on earnings from $400,000 to $450,000 (Basic Cable remaining at $375,000), and by extending span protection to writers on limited series, for contracts made 30 days after the ratification date.
12. Appendix A Series Made for Subscription Streaming Services
Comedy-Variety, Quiz & Audience, or Other Non-Dramatic programs with budgets at or above $600,000 for a half-hour or $1.15 million for a one-hour show that are made for subscription streaming services will have weekly initial compensation minimums like television. Projects with four episodes per week have lower breaks; for instance, Comedy-Variety strip shows have budget breaks of $150,000 for 30-minute show, $250,000 for 60-minute.
Comedy-Variety series employment will get the aggregate minimum compensation in addition to weekly minimums. Comedy-Variety series with 13 programs will get 13-week guarantees; shorter orders may have shorter guarantees by applying for a Guild waiver. Quiz & Audience and Other Non-Dramatic series have weekly minimums, though 13-week guarantees are not required.
The Guild has the right to negotiate initial compensation terms and residuals for existing Daytime Serials that move to subscription streaming services in the same fashion as it negotiates for Appendix A and low budget dramatic shows on Basic Cable.
All high budget Appendix A programs will receive a residual of 1.2% of the license fee for use after the first 26 weeks.
13. Showrunner Training Program
We reached an agreement to renew $250,000 in annual funding for the Showrunner Training Program.
14. Additional Arbitrators
We agreed to replace three arbitrators on the panel to hear MBA claims in Los Angeles.
15. Tri-Guild Audit Program
We renewed funding for Tri-Guild auditing of residuals payments for the term of the agreement.
16. Other Changes (Company Proposals)
We agreed to increase the number of episodes on new made for broadcast series that can get a single free “promotional” run from 2 to 3, but with the number of episodes capped at no more than 25% of the season;
We agreed that the companies can exhibit a longform program made for HBSVOD in theaters for not more than 8 days, at least 40 days after the program’s release on the original streaming platform, for 3% of accountable receipts;
We agreed to a 3% increase in the thresholds for payment of the 1.2% residual for foreign free television reuse;
We agreed to allow a company to credit a sole writer/director or writer/producer of a project as “produced by” or “presented by” in publicity releases or advertising without a separate writing credit;
We agreed that interest isn’t due when writers haven’t provided the information necessary to process payment.
Note: The above summary is for informational purposes only. The MOA contains all negotiated deal points in contract language.
If you have questions, WGAW members should contact the Contracts Department; WGAE members should contact Geoff Betts, Director of Contract Enforcement & Credits.
The Writers Guild strike is over! Writers can return to their laptops and other devices after midnight tonight. Dialogue can be written, plots outlined, coffee drunk, ink installed in printers.
The Guild says everyone can start up again. If something goes wrong, the strike can resume. But it’s going through. No one will stand in the way. Four months is enough!
Here’s what went out to membership:
“As we reported on Sunday, the WGA reached a tentative agreement with the Alliance of Motion Picture and Television Producers on a new three-year Minimum Basic Agreement. Today, your Negotiating Committee, the WGAW Board and WGAE Council all voted unanimously to recommend the agreement. It will now go to both Guilds’ memberships for a ratification vote. Eligible voters will receive ballot and materials for the vote which will take place from October 2nd to October 9th.
“The WGAW Board and WGAE Council also voted unanimously to lift the restraining order and end the strike as of 12:01 am PT/3:01 am ET on Wednesday, September 27th. This allows writers to return to work during the ratification process, but does not affect the membership’s right to make a final determination on contract approval.
“Now that we have finalized the Memorandum of Agreement (MOA), we can share details of this exceptional deal, with gains and protections for members in every sector of the business:
MBA 2023 Contract Materials:
Members can read the complete tentative agreement, which is codified in this Memorandum of Agreement (MOA).
We are also providing a short Summary of the MOA.
Here is an update of the 2-pager (now 7-pager) that compares the status of negotiations on May 1st and what we achieved after 148 days on strike.
Contract Informational Member Meetings:
We are convening meetings this week so current members can hear from the Negotiating Committee, Board and Council, and have the opportunity to ask questions about the agreement before the ratification vote.
