industry

It has been nearly three years since Hollywood writers went on a historic strike that lasted 148 days and ushered in an extraordinary period of labor unrest that virtually shut down the film and TV business.

Now, writers are poised to commence another round of bargaining with the major studios on a new three-year film and TV contract. Few observers think the union is girding for another showdown, especially at a time when many of its members are struggling to find work amid media consolidation and belt-tightening.

But in advance of negotiations that begin on Monday , union leaders are eager to dispel any perception that they might have scaled back their demands.

“Our members have shown many times that they’re willing to fight for what we need as a collective group,” WGA West President Michele Mulroney said in an interview. “And there’s no exception here.”

With its current contract expiring on May 1, the WGA hopes to improve its members’ healthcare plans, increase streaming residuals and expand AI protections.

Michele Mulroney speaks as the Screen Actors Guild (SAG-AFTRA) and Writers Guild of America (WGA) join GLAAD in releasing the 11TH Annual GLAAD Studio Responsibility Index at The Village at Ed Gould Plaza Los Angeles LGBT Center in Los Angeles, California, on September 14, 2023.

(Michael Tran/AFP via Getty Images)

Ellen Stutzman, the union’s executive director, said despite popular belief, the studios have weathered the transition from cable television to streaming “very well,” citing their efforts to maximize revenue with streaming bundling, rising subscription fees and advertising revenue.

“Writers are watching as Netflix and Paramount are fighting it out to acquire Warner Bros… Paramount is spending $81 billion,” said Stutzman. “There’s money for a fair deal for writers.”

The union leaders agree that this year’s negotiations are all focused on the sustainability of a writer’s career.

A spokesperson from the Alliance of Motion Picture and Television Producers, which represents the major studios in negotiations, said in a statement that they look forward “to engaging in a constructive and collaborative bargaining process with the WGA. Through continued good-faith dialogue, we are confident we can reach balanced solutions that support talented writers while sustaining the long-term success and stability of our industry and its workforce.”

A top priority for the WGA is to increase the caps that companies contribute to the union’s healthcare plan. Union officials say the current cap has remain unchanged for two decades as healthcare contributions have steadily declined due to fewer writers working.

AI is also top of mind for the WGA.

In 2023, the guild secured various AI protections by establishing that AI isn’t a writer and nothing it produces is considered literary material.

But as major studios start to make deals with AI companies, like Disney’s $1 billion investment into OpenAI’s Sora platform, many writers are concerned about how their work could be used.

“AI is using [studios’] IP, which is stuff that we wrote to license these models,” said John August, the co-host of the “Scriptnotes” podcast and WGA’s negotiating committee co-chair. “With the Sora deal, it seems clear that the companies intend to monetize this IP for use with AI.”

August says the union will be skeptical toward arguments that it’s still too early to seek more safeguards around such a nascent industry, citing the union’s past history with the rise of DVDs and the internet and how profoundly those technologies changed the compensation for writers.

“If you’re taking the work that we created to generate AI outputs, we are owed money. They’re using our work to do something down the road,” added August.

WGA’s negotiating committee also is looking to boost streaming residuals, expand the minimum number of people allowed in a writers’ room and add protections for scribes working on pilots.

“We very much hope that lessons were learned in 2023 and that the AMPTP will come to the table ready to take our proposal seriously and to make a fair deal, and to do that quickly,” Mulroney said. “It provides stability for the companies and for our membership. It’s better for everybody.”

WGA is entering contract negotiations nearly a month after the actors’ union, SAG-AFTRA, began its bargaining sessions. Last week,
the AMPTP said it was extending negotiations another seven days.

California Atty. Gen. Rob Bonta called out the federal government for largely vacating its role as antitrust regulator, saying it’s now up to California and other states to look out for consumers’ interests.

Bonta, the state’s top law enforcement officer, spoke Thursday at a Capitol Forum conference in Beverly Hills on antitrust issues and the future of Hollywood. His appearance came just days after the U.S. Department of Justice settled its case against Live Nation and Ticketmaster a week into a high-stakes trial, leaving state attorneys general to try to continue to fight that battle on their own.

The Justice Department’s about-face revealed a major fracture in antitrust enforcement. State attorneys general — particularly in Democratic-controlled states — say their role is becoming increasingly important to challenge alleged anti-competitive behavior.

President Trump has “abdicated the federal administration’s responsibilities to hold big corporations accountable to the law and protect a competitive marketplace,” Bonta said.

Bonta’s appearance comes as another major Hollywood merger appears to be sailing through its federal review with Trump’s tacit approval: Paramount Skydance’s proposed $110-billion deal for Warner Bros. Discovery.

The merger, announced late last month, has rattled Hollywood unions and some antitrust experts. It would combine legendary film studios, robust television production units and two prominent news organizations, CBS News and CNN, as well as dozens of cable channels.

“Paramount and Warner Bros. haven’t cleared regulatory scrutiny,” Bonta said. “My office has an open investigation into [the deal] and we intend to be vigorous in our review.”

California could bring its own lawsuit to block Paramount’s takeover, or join with other state attorney generals to launch legal proceedings to try thwart the deal or extract concessions — even if the Justice Department ultimately clears David Ellison’s deal.

Bonta outlined various concerns, including a continued contraction of Hollywood’s labor market, the consolidation of streaming services — Paramount+, HBO Max, Pluto and Discovery+ — and potentially higher prices and lower wages.

“There’s no industry as iconically California as the entertainment industry,” Bonta said. “It’s baked into California’s DNA.”

California Attorney General Rob Bonta vowed to drill into Paramount Skydance’s proposed takeover of Warner Bros. Discovery.

(Paul Kuroda/For The Times)

Paramount filed for Justice Department approval in December .

The maneuver started the regulatory review clock. And last month a key deadline for the Justice Department to raise concerns about Paramount’s proposed acquisition of Warner passed without comment from Washington.

Paramount has said it could finalize its deal by the end of September.

The architect of Paramount’s strategy, Chief Legal Officer Makan Delrahim, delivered his own keynote address, stressing the Ellison-family’s acquisition of Warner Bros. would not reduce competition and instead would be “a huge win for the creative community.”

“Paramount’s transaction with Warners is an opportunity to expand output, to grow the number of movies, shows and other content we are offering to the consumer,” Delrahim said, adding that will result in “more job opportunities,” including in Southern California, which is reeling from a production flight to other states and countries.

Delrahim conceded that Paramount was driven to buy Warner Bros. — it prevailed after Netflix bowed out — because Paramount is not big enough to compete in an industry dominated by technology giants.

He criticized the proposed Netflix deal, saying he doubted it would have passed regulatory muster due to Netflix’s strength in the streaming market.

Paramount still needs to win the support of Warner shareholders, and also gain regulatory approvals from the Justice Department, state attorney generals and overseas governments.

“This deal is a big win for Los Angeles, for California and for all communities that embrace filmmaking,” Delrahim said.

Tech mogul Larry Ellison has personally guaranteed the $45.7-billion in equity needed for the transaction . The company would have to take on more than $60-billion in debt — raising concerns among Hollywood workers about large-scale cost-cuts and layoffs.

“What is Paramount doing is …paying $110 billion to take out a rival,” said attorney Ethan E. Litwin, a former lawyer for TV networks, who also spoke at the conference. “When you take out a major rival in a highly concentrated industry … you are taking out competitors for projects. “

Bonta declined to say whether he would try to stop the Paramount-Warner merger.

Progressive State Leaders Committee, an affiliate of the Democratic Attorneys General Association, in December hired Rohit Chopra, a former director of the Consumer Financial Protection Bureau and former commissioner on the Federal Trade Commission, as a senior advisor. He will help coordinate efforts as the group, including Bonta, wages antirust enforcement battles.

“The federal government is just not enforcing the law,” Chopra said during Thursday’s conference. “Our states are really the last line of defense.”

Back in the early 2010s, the music industry was at a low point.

Piracy was rampant. Compact disc sales were on a steady decline. And the then-new audio streaming services, like Spotify, were taking hits from creators for paying low royalty rates.

Today, Spotify has grown into the world’s most popular audio streaming subscription service and the highest-paying retailer globally — paying the music industry over $11 billion last year. The Swedish company said in a recent post that the payouts aren’t strictly going to ultra-popular artists, but that “roughly half of royalties were generated by independent artists and labels.”

“A decade ago, a lot of the questions were really fair. Spotify had to be able to prove out if it could scale as an economic engine. People didn’t know if streaming would scale as a model,” said Sam Duboff, Spotify’s global head of marketing and policy of music business.

Duboff said Spotify’s payouts aren’t “plateauing — we’re still growing that royalty pool on Spotify more than 10% per year.” He credits the streaming platform’s growth to “incentivizing people to be willing to pay for music again” by providing personalized experiences and global accessibility.

The company, founded in 2006, serves more than 751 million users, including 290 million subscribers, in 184 markets.

“The average Spotify premium subscriber listens to 200 artists every month, and nearly half of those artists are discovered for the first time,” Duboff said. “When you build an experience where people can explore and fall in love with music, it inspires them to upgrade to premium and keep paying.”

The platform offers a wide variety of playlists, curated by editors like the up-and-comer-driven Fresh Finds or rap’s latest, RapCaviar. There are also personal playlists generated for users, such as the weekly round-up Discover Weekly and the daily mix of tunes called the “daylist.”

The streamer considers itself the first step toward “an enduring career” for today’s indie artists. Last year, more than a third of artists making $10,000 on the platform in royalties started by self-releasing their music through independent distributors.

“Streaming, fundamentally, is about opportunity and access. It’s artists from all over the world releasing music the way they want to and reaching a global audience from Day One,” Duboff said. He adds that when fans have a choice, they will discover new genres and music cultures that may have otherwise languished in obscurity.

In 2025, nearly 14,000 artists earned $100,000 from Spotify alone. The streamer’s data also show that last year the 100,000th highest-earning artist made $7,300 in Spotify royalties, whereas in 2015, an artist in that same spot earned around $350.

The company, with a large presence in L.A.’s Arts District, emphasizes that the roster of artists on its platform who earn significantly more money — well into the millions — is no longer limited to the few. A decade ago, Spotify’s top artist made around $10 million in royalties. Today, the platform’s top 80 artists generate over $10 million annually. Some of 2025’s top artists globally were Bad Bunny, Taylor Swift and the Weeknd.

Spotify claims those who aren’t household names can earn six figures, with more than 1,500 artists earning $1 million last year.

For some musicians, the outlook is not as clear

Damon Krukowski, a musician and the legislative director for United Musicians & Allied Workers, argues that Spotify’s money isn’t necessarily going to artists — it’s going to their labels.

Those without labels usually upload music through distributors such as DistroKid and CD Baby. These platforms charge a small fee or commission. For example, DistroKid’s lowest-level subscription is $24.99 a year, and the site states users “keep 100% of all your earnings.”

”There are zero payments going directly to recording artists from Spotify,” Krukowski asserts. “Recording artists deserve direct payment from the streaming platforms for use of our work.”

The advocacy group, which has mobilized more than 70,000 musicians and music workers, recently helped draft the Living Wage for Musicians Act to address the streaming industry. The bill, introduced to the U.S. House of Representatives last fall, calls for a new streaming royalty that would directly pay artists a minimum of one penny per stream.

In the Q&A section of Spotify’s Loud and Clear website, the streamer confirms that it “doesn’t pay artists or songwriters directly. We pay rights holders selected by the artist or songwriter, whether that’s a record label, publisher, independent distributor, performance rights organization, or collecting society.”

Instead of following a penny-per-stream model, Spotify pays based on the artist’s share of total streams, called a “streamshare.”

“Streaming doesn’t work like buying songs. Fans pay for unlimited access, not per track they listen to,” wrote the company online. “So a ‘per stream’ rate isn’t actually how anyone gets paid — not on Spotify, or on any major streaming service.”

At the Basement, a haunted escape room experience in Sylmar, patrons attempt to evade a deranged serial killer by solving puzzles.

Now the actors, who work as game masters and perform as distressed abductees at the venue, will be frightening their guests while under union protection.

This week, the Basement’s union voted unanimously to ratify its first working contract, making it the first and only escape room to have a union and operate under a collective bargaining agreement. The group is recognized as part of the Actors’ Equity Assn., which represents more than 51,000 actors and managers in live entertainment.

Jenna Wagner, an actor at the Basement, said the new contract, bargained by a dozen employees including herself, will “improve general unit morale.” It addresses higher wages and greater safety provisions as well as scheduling and media protections.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

“It’s, of course, setting a precedent. A lot of people don’t see working at an escape room as something worthy of being recognized. Sometimes when you say, ‘I’m an actor at an escape room.’ People just say ‘Oh, OK,’” Wagner said. “It feels very validating [to unionize like this] because we are actors. We are performing every day.”

The Basement’s union was formed two years ago. Management, led by founder and chief executive Kayden Ressel, voluntarily recognized its workers’ efforts to join Actors’ Equity. Ressel said he used to work as a scare actor at haunted attractions so he understood where his employees were coming from.

“Their values seemed to be in alignment with what I really wanted my business to be in the first place. So, we were excited” about the union efforts, Ressel said. He’s hoping the finalized contract “will raise the bar” for other escape rooms.

The Sylmar attraction first opened in 2014 and employs 15 people. Across 3,000 square feet, it offers four interactive room choices where groups get to decide between escaping different areas of the haunted house. Live actors are involved in three of the four experiences. (The Basement is one of the few escape rooms to hire actors.) Two other Basement locations can be found in Las Vegas and Kansas City, Mo.

Ressel said he’s considering offering a discount of 10% to 20% for customers who belong to unions.

The popularity of escape rooms in the U.S. goes back to the early 2010s, when interest in interactive experiences was at an all-time high. Today, there are around 75 escape rooms in the L.A. area and more than 2,000 across the country. According to data from the media company Room Escape Artist and the escape room app Morty, the industry stabilized at the current facility count in 2022, after shrinking more than 10% during the pandemic.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

Noah Nelson, a professor at the California Institute of the Arts and founder of immersive arts publication No Proscenium, said Actors’ Equity’s recognition of the Basement’s workers is a step in the right direction as the union welcomes more nontraditional units.

“There’s something to be said about the value of live entertainment being recognized. It goes beyond the venues that people would traditionally associate with that whether that is a regional theater, a Broadway house or a concert venue,” Nelson said. “There is an industry here that stretches beyond just the big houses, and at the end of the day, I view the signs of organizing in these spaces as nothing but a good sign for the overall health of the industry.”

The Actors’ Equity Assn. was founded in 1913 and is known for representing live performers typically in theatrical productions. In recent years, the definition of live entertainment has expanded, and Actors’ Equity has recognized performers at the Griffith Observatory, Drunk Shakespeare companies and even the dancers at the Star Garden Topless Dive Bar in North Hollywood. There also are ongoing negotiations for Disneyland’s cast members and the entertainers at the Casa Bonita restaurant in Denver.

Stefanie Frey, the director of organizing and mobilization at Actors’ Equity, said in a statement that the union views “escape rooms and similar immersive entertainment experiences as another live stage.” She also said the union expects “others in this growing community will seek out our union for representation.”

Actress Brooke Shields, the president of Actors’ Equity, said, “Negotiating a first contract is always a challenge, and in this case, we had no other unionized escape rooms to use for a model.”

“These workers stuck together through a long process, and seeing what they’ve achieved, I’m sure they agree it was worth it,” she said in a statement. “They have made history for a swiftly growing sector of our industry.”

March 3 (Asia Today) — South Korea’s Ministry of Science and ICT said Tuesday it has begun distributing graphics processing units to industry, academia and research institutions as part of a government push to expand domestic artificial intelligence capacity.

The ministry said it will supply about 4,000 GPUs starting this month from a pool of 10,000 units secured through last year’s supplementary budget. It selected recipients for the first batch and said the GPUs will be used to support 159 projects.

Under the initial allocation, 2,624 GPUs will go to universities and other academic institutions, 1,288 to industry and 312 to research institutes, the ministry said.

A previous call for proposals drew 514 applications. The ministry said the selected projects will be deployed immediately for AI research and development, including services and model development, based on expert evaluations of factors such as expected technological impact, societal impact and contribution to the domestic AI ecosystem.

The ministry said it will conduct periodic monitoring after allocation. If improper use is found, it said the GPUs could be reclaimed and reassigned to other users.

The ministry also said it plans an additional call for proposals later this month, including 4,000 GPUs for industry users such as small and midsize companies and startups and about 1,000 more for academia and research institutions.

In future rounds, the ministry said it will give greater consideration to applicants based outside the capital area and seek to prevent allocations from concentrating on specific companies or institutions.

Choi Dong-won, the ministry’s director general for AI infrastructure policy, said the GPU program is intended to serve as a catalyst for strengthening AI capabilities and expanding AI services, creating additional demand for infrastructure in a self-reinforcing cycle.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260303010000523

Harrison Ford received a standing ovation Sunday as he accepted the SAG-AFTRA Life Achievement Award.

“It’s a little early isn’t it?” Ford joked, noting that “it’s a little weird to be getting a lifetime achievement award at the half-point of my career.”

The 83-year-old is one of the industry’s highest-grossing actors after catapulting to global stardom with his role as Han Solo in the “Star Wars” franchise, a legacy further cemented by his lead role in “Indiana Jones” movies.

Ford fought back tears, thanking his fellow actors, writers, directors and cast members. He “found a calling. A life in storytelling. An identity in pretending to be other people,” he said.

“While we’re all at different stages of our lives and careers in this room, we all share something fundamental. We share the privilege of working in the world of ideas, of empathy, or imagination,” Ford said. “Because of that privilege, I’ve come to know myself.”

Ford said he was “not an overnight success,” spending the first 15 years of his career jumping between acting and carpentry before landing an acting role.

Ford thanked film producer and casting director Fred Roos and his longtime manager Pat McQueeney, all of whom he said were integral to his success.

“They’re no longer with us, but it feels important that I think of them now. I feel them here tonight. They would be happy for me,” Ford said.

SAG-AFTRA’s recognition on Sunday is one of several lifetime achievement awards bestowed upon the actor over his extensive six-decade career, which is defined by two of Hollywood’s biggest film franchises.

A highlight reel of Ford’s various acting performances played ahead of his accepting the award.

The award was presented by actor Woody Harrelson, who lauded Ford’s varied achievements and called him a “timeless American treasure.”

“There’s too much of me in this tribute to Harrison, but I’m an actor, what do you expect?” Harrelson quipped. The actor first met Ford after following him into a sushi restaurant and the pair “sealed their friendship” over lunch, during which “at one point, we laughed — and I’m not kidding — for three minutes straight,” Harrelson said.

“This is a life achievement award and he has lived a full one,” Harrelson said.

Ford hasn’t shown signs of slowing down in recent years. The actor plays therapist Paul Rhoades in the Apple TV show “Shrinking,” which earned him his first-ever Emmy nomination last year. He also recently starred in the “Yellowstone” prequel “1923” and appeared in his first Marvel movie, “Captain America: Brave New World.”

Ford “thinks working more is the antidote to aging,” Harrelson said. The actor recently reprised his iconic role as a swashbuckling archaeologist in the 2023 sequel “Indiana Jones and the Dial of Destiny.”

Despite Ford’s massive success in the industry, the actor has yet to win a major competitive acting award. The Life Achievement Award is the first that Ford snagged from the guild. He was nominated last year for actor in a comedy series for his role in “Shrinking” but lost to Martin Short for his performance in “Only Murders in the Building.”

Ford said he was “quite humbled” to be honored with the award in a room full of actors, “many of whom are here because they’ve been nominated to receive a prize for their amazing work, while I’m here to receive a prize for being alive.”

“Sometimes we make entertainment. Sometimes we make art. Sometimes we’re lucky and we make them both at the same time,” Ford said.

The awards show’s highest honor is given to performers who foster the “finest ideals of the acting profession.” Ford joins a list of seasoned actors who have received the award, including Jane Fonda, Barbra Streisand, Morgan Freeman and Robert De Niro.

SAG-AFTRA described Ford as “one of cinema’s most enduring leading men” whose performances “have become woven into the fabric of our culture,” in a December release announcing the honor.

After its failure to strike a deal to tap into the EU’s defence for loan scheme, the UK is now on a charm offensive to secure “Made in Europe” access for its industry.

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UK Business and Trade Secretary Peter Kyle is in Brussels on Wednesday and Thursday to press the case for UK involvement in the European preference scheme the Commission is drafting, as speculation circulates that it will be limited to EU countries only.

“We have a shared challenge on the continent of Europe about economic security,” Kyle told journalists after meeting Commission Vice President Teresa Ribera, adding that “the continent of Europe should come together” to build “resilience” at a time of increasing worldwide economic tensions.

The UK fears Brussels’ push to favour “Made in Europe” products will shut London out of EU public procurement and state aid, escalating post-Brexit trade tensions.

London argues that the EU and UK economies are too deeply intertwined to withstand a strict EU-only European Preference.

The EU’s “Made in Europe” strategy is set to feature in the long-delayed Industrial Accelerator Act, held up for months by divisions among member states and within the European Commission. Baltic and Nordic countries have warned that the plan could curb innovation and restrict access to non-EU technologies, joining Germany in calling for a broad definition of “Made in Europe” that includes the bloc’s “trusted” trade partners.

France, by contrast, wants to limit eligibility to members of the European Economic Area – including Norway, Liechtenstein and Iceland – as well as countries with reciprocal procurement agreements with the EU.

Limits of participation

London has previously sought to secure preferential access to the EU’s €150-billion Security Action for Europe (SAFE) defence loan scheme – so far, to no avail.

That programme also contains a European preference, with member states required to ensure that at least two-thirds of the weapon systems they buy using loaned EU money are manufactured in an EU or EEA/EFTA country or Ukraine. Third-country participation is capped at 35%.

Talks to bring the UK to the same level as a member state collapsed last November when they failed to find a compromise over how much London would have to contribute financially.

Euronews understands that those talks fell apart over a major gap between the two sides: whereas the final offer on the table from the EU was around €2 billion, the UK estimated it ought to contribute just over €100 million.

But the UK also wants to participate in the EU’s €90 billion loan to Ukraine, two-thirds of which is earmarked for military assistance.

Starmer said last month that “whether it’s SAFE or other initiatives, it makes good sense for Europe in the widest sense of the word – which is the EU plus other European countries – to work more closely together.”

But the British premier is walking a difficult political tightrope. His Labour party is consistently polling several points behind the right-wing populist Reform UK, led by arch-Brexiteer Nigel Farage.

Yet, a recent YouGov poll showed that a majority of British people (58%) now believe that it was wrong for the UK to leave the EU, with 54% supporting rejoining the bloc. An even bigger majority – 62% – support having a closer relationship without rejoining the EU, the Single Market, or the Customs Union.

Brussels, however, has always been clear that the UK cannot pick and choose privileged access to the Single Market without accepting the EU’s “four freedoms”: the full freedom of movement of goods, services, capital and people – the latter of which would feed into Farage’s anti-immigration platform.