Showbiz Sandbox 469: Hollywood Unions Set For Fight Over Streaming Residual Payments

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 468: A Rundown of This Year’s Rock & Roll Hall of Fame Nominees

Next year’s nominees for placement into the Rock & Roll Hall of Fame in Cleveland, Ohio include candidates considered in previous years, including Depeche Mode, Judas Priest and Todd Rundgren. They join new nominees such as Pat Benatar, Dave Matthews Band and Whitney Houston, among others. We speak with Sal Nunziato, a music blogger and drummer for the band The John Sally Ride, to get his encyclopedic thoughts on which of the nominees should actually get the nod.

We also discuss the pros and cons of streaming music services. There is no dispute that it’s great to have an archive of music, not to mention new releases, all available for listening within a few seconds. On the other hand, it’s also nice to support the music we really like by actually buying physical copies.

Meanwhile, the video game industry made some headlines this week after a Chinese team won the latest “League of Legends” world championship. At the same time the latest “Call of Duty” release has generated some controversy since it is set amidst the Syrian Civil War and depicts child soldiers, the killing of civilians, among many other issues.

Of course we also cover the week’s top entertainment headlines including why Woody Allen dropped his lawsuit against Amazon Studios, HBO Max sets its subscription price and technology is allowing filmmakers to cast the late James Dean in an upcoming movie.

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Showbiz Sandbox 467: Is “The Terminator” Really A Franchise Property?

When James Cameron made “The Terminator” in 1984 he probably didn’t think the movie would still be spinning off sequels 35 years later, no matter how big a hit it became. Given the disappointing box office brought in by the sixth and latest Terminator film during its opening weekend it’s not hard to wonder whether the franchise might have run its course or if it should have been a franchise at all.

One film we know for sure isn’t a franchise is Martin Scorsese’s most recent film, “The Irishman.” Made for Netflix, the movie will only be in theatres for 26 days before appearing on the streaming platform. Big movie theater chains have expressed their frustration with Netflix for not adhering to a traditional theatrical release window of 90 days, though were rumored to have offered up a shortened 60-day term instead. If true, was Netflix foolish for not accepting it?

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