Showbiz Sandbox 469: Hollywood Unions Set For Fight Over Streaming Residual Payments
November 17, 2019
As television networks turn from linear broadcast methods to consumer streaming platforms a brewing battle over residual payments has the potential to spark a dual union strike in the middle of next year. Jonathan Handel, an entertainment attorney and a contributing editor at The Hollywood Reporter, joins us to discuss how the lack of data coming from streaming giants could lead to a standoff between major guilds and producers.
Indeed, in mid-2020 the master contacts between the Alliance of Motion Picture and Television Producers and the Directors Guild of America, The Writers Guild of America and SAG-AFTRA are set to expire. By now negotiations on new contracts would be well underway. Instead talks have stalled as unions try to revise the formulas used by streamers to make residual payments to their members. Given the timing, it’s a perfect storm for a potential massive industry work-stoppage.
Meanwhile, the Broadway musical “Tootsie” is closing long before it recoups its production costs. Michael Riedel of the New York Post has a host of reasons for why this critic’s darling didn’t click, however only one of them makes sense; the show’s music wasn’t all that great.
Of course we also cover the week’s top entertainment headlines including how Amazon has followed Netflix in deciding not to publish box office figures for its films, George Lucas revises the original “Star Wars” once again and Taylor Swift gets into a public spat with her former record label.
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Showbiz Sandbox 44: And The (Six) Oscars Go To… “Hurt Locker”
March 8, 2010
The ballots have been counted, the envelopes have been opened and the nominees have undoubtedly returned their ball gowns and tuxes. Finally, after all the news coverage and public speculation about who would this year’s Oscars, the Academy of Motion Picture Arts and Sciences put us out of our misery on Sunday during their annual awards ceremony. The proceedings lasted more than three hours as usual and provided very few surprises.
Katheryn Bigelow made history by being the first woman to win the Best Director Oscar for “The Hurt Locker”, which won six awards in total including Best Screenplay and Best Picture. Jim Cameron’s “Avatar” won three technical awards for art direction, cinematography and visual effects. One of the night’s biggest surprises was when Geoffrey Fletcher walked off with the Best Adapted Screenplay Oscar for “Precious”, upsetting Jason Reitman’s “Up In The Air”.
As we predicted on last week’s episode, Jeff Bridges won Best Actor for “Crazy Heart”, Sandra Bullock won Best Actress for “The Blind Side”, Mo’Nique won Best Supporting Actress for “Precious” and Christolph Waltz won Best Supporting Actor for “Inglorious Basterds”. Damien Bona, co-author of the book Inside Oscar
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