Writers Guild and Hollywood Studios Reach Tentative Deal to End Strike

People walk outside Paramount Studios after the Writers Guild of America (WGA) said it reached a preliminary labor agreement with major studios in Los Angeles, California, US, September 24, 2023.  REUTERS/David Swanson
People walk outside Paramount Studios after the Writers Guild of America (WGA) said it reached a preliminary labor agreement with major studios in Los Angeles, California, US, September 24, 2023. REUTERS/David Swanson
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Writers Guild and Hollywood Studios Reach Tentative Deal to End Strike

People walk outside Paramount Studios after the Writers Guild of America (WGA) said it reached a preliminary labor agreement with major studios in Los Angeles, California, US, September 24, 2023.  REUTERS/David Swanson
People walk outside Paramount Studios after the Writers Guild of America (WGA) said it reached a preliminary labor agreement with major studios in Los Angeles, California, US, September 24, 2023. REUTERS/David Swanson

Union leaders and Hollywood studios reached a tentative agreement Sunday to end a historic screenwriters strike after nearly five months, though no deal is yet in the works for striking actors.
The Writers Guild of America announced the deal in a joint statement with the Alliance of Motion Picture and Television Producers, the group that represents studios, streaming services and production companies in negotiations.
“WGA has reached a tentative agreement with the AMPTP,” the guild said in an email to members. “This was made possible by the enduring solidarity of WGA members and extraordinary support of our union siblings who joined us on the picket lines for over 146 days.”
The three-year contract agreement — settled on after five marathon days of renewed talks by WGA and AMPTP negotiators that was joined at times by studio executives — must be approved by the guild's board and members before the strike officially ends, The Associated Press reported.
In a longer message from the guild shared by members on social media, the writers were told the strike is not over and no one was to return to work until hearing otherwise, but picketing is to be suspended immediately.
The terms of the deal were not immediately announced. The tentative deal to end the last writers strike, in 2008, was approved by more than 90% of members.
The agreement comes just five days before the strike would've become the longest in the guild's history, and the longest Hollywood strike more than 70 years.
As a result of the agreement, nightly network shows including NBC’s “The Tonight Show Starring Jimmy Fallon” and ABC’s “Jimmy Kimmel Live!” could return to the air within days.
But as writers prepare to potentially crack open their laptops again, it’s far from back to business as usual in Hollywood, as talks have not yet resumed between studios and the Screen Actors Guild-American Federation of Television and Radio Artists. Crew members left with no work by the stoppage will remain unemployed for now.
“SAG-AFTRA congratulates the WGA on reaching a tentative agreement with the AMPTP after 146 days of incredible strength, resiliency and solidarity on the picket lines,” the actors union said in a statement. “While we look forward to reviewing the WGA and AMPTP’s tentative agreement, we remain committed to achieving the necessary terms for our members.”
The statement said the guild continues “to urge the studio and streamer CEOs and the AMPTP to return to the table and make the fair deal that our members deserve and demand.”
The proposed solution to the writers strike came after talks resumed on Wednesday for the first time in a month. Chief executives including Bob Iger of Disney, Ted Sarandos of Netflix, David Zaslav of Warner Bros. Discovery and Donna Langley of NBCUniversal reportedly took part in the negotiations directly.
It was reached without the intervention of federal mediators or other government officials, which had been necessary in previous strikes.
Los Angeles Mayor Karen Bass issued a statement congratulating the two sides on the deal and said she is hopeful the same can happen soon with actors.
California Gov. Gavin Newsom did the same, saying writers "went on strike over existential threats to their careers and livelihoods — expressing real concerns over the stress and anxiety workers are feeling. I am grateful that the two sides have come together.”
About 11,500 members of the Writers Guild of America walked off the job May 2 over issues of pay, the size of writing staffs on shows and the use of artificial intelligence in the creation of scripts. Actors, who joined the writers on strike in July, have their own issues but there have been no discussions about resuming negotiations with their union yet.
The writers strike immediately sent late-night talk shows and “Saturday Night Live” into hiatus, and has since sent dozens of scripted shows and other productions into limbo, including forthcoming seasons of Netflix's “Stranger Things," HBO's “The Last of Us,” and ABC's “Abbot Elementary," and films including “Deadpool 3” and “Superman: Legacy.” The Emmy Awards were also pushed from September to January.
More recently, writers had been targeting talk shows that were working around strike rules to return to air, including “The Drew Barrymore Show,” “ Real Time With Bill Maher ” and “The Talk.” All reversed course in the face of picketing and pressure, and are likely to quickly return now.
The combined strikes made for a pivotal moment in Hollywood as creative labor faced off against executives in a business transformed and torn by technology, from the seismic shift to streaming in recent years to the potentially paradigm-shifting emergence of AI in the years to come.
Screenwriters had traditionally gone on strike more than any other segment of the industry, but had enjoyed a relatively long stretch of labor peace until spring negotiations for a new contract fell apart. The walkout was their first since 2007 and their longest since 1988.
On July 14, more than two months into the strike, the writers got a dose of solidarity and star power — along with a whole lot of new picketing partners — when they were joined by 65,000 striking film and television actors.
It was the first time the two groups had been on strike together since 1960. In that walkout, the writers strike started first and ended second. This time, studios opted to deal with the writers first.
The AMPTP first reached out to suggest renewing negotiations in August. The meetings were short, infrequent, and not productive, and talks went silent for another month.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.