I think I'm gonna have to call my friend Gary Whitta - or maybe have him write something for the site - that helps me understand what the WGA is talking about when they talk about "mini-rooms." There is some incredibly baroque, deeply inside baseball stuff when you get into the systems which underpin the development of popular media that only make sense to the acolytes of these doomed halls. And it's partly because people adversarial to the creative process - the very people they're out here pig-wrestling to extract concessions from - have largely defined how it all works.
The rest of it makes sense, even to the layperson; they would like more money in a variety of contexts, and more certainty around the work they engage in for the industry. They want their contract to recognize that media - who is making it, how and where it's seen - looks very different than it did when there was a Big Three and a Twenty-Four Episode Season. I don't work there, but I went on pretend strike with them in 2007 - that's where we got Rex Ready from, somehow. This time, Meghan Morkle - exhausted from a week of hard use - was forced to seek inspiration in swamps and gentle cricks, any place moisture collects.
The Alliance of Motion Picture and television Producers of course has their own positions and ripostes and all the rest of it. One peculiarity about this strike is an attempt to get ahead of questions about the use of AI. That's gonna be a tough row to hoe. As we have said many times, as we have personally experienced, and as is manifestly true, artists are the irreducible fraction in play here and the people in charge of the money know this. I've had people tell me to my face, in my own office, that they hate creatives. These people will do anything they can to get a leg up and start choking you out.