pitt

The already highly decorated “Sinners” was among the top winners at the 78th Writers Guild Awards on Sunday in New York City.

The Ryan Coogler-directed horror film won the award for original screenplay, and its primary Oscars best picture opponent, Paul Thomas Anderson’s “One Battle After Another,” clinched the win for adapted screenplay. “Sinners” star Miles Caton accepted the award for the former, and “One Battle” cast member Shayna McHayle for the latter.

“Sinners” star Miles Caton and “One Battle After Another” actor Shayna McHale accepted the awards for original and adapted screenplay, respectively.

(Cindy Ord / Getty Images for Writers Guild of America East)

In the TV realm, “The Pitt” made a splash with awards for drama series, new series and episodic drama.

As for lifetime achievement honors, Robert Smigel presented Stephen Colbert with the Walter Bernstein Award for critiquing the power elite on his late-night show, which will air its final episode in May. Terry George received the Ian McLellan Hunter Award for Career Achievement from Don Cheadle, and Diana Son the Richard B. Jablow Award for Devoted Service to the Guild from last year’s recipient, Kathy McGee.

Most years, the Writers Guild holds simultaneous ceremonies in New York and Los Angeles. But the East Coast edition became a solo affair after WGA West canceled its ceremony amid an ongoing strike by its own staff union, who claimed guild management had “surveilled workers for union activity, terminated union supporters, and engaged in bad faith surface bargaining.”

The L.A. ceremony was set to honor James Cameron with the Laurel Award for Screenwriting Achievement, Don Reo with the Paddy Chayefsky Laurel Award for Television Writing Achievement and Mstyslav Chernov with the Paul Selvin Award for “2,000 Meters to Andriivka,” which won the award for documentary screenplay Sunday evening.

While WGA West’s board of directors said the ceremony was postponed to give members “an uncomplicated celebration of their achievements,” the Writers Guild Staff Union characterized the cancellation as an attempt to sow division between management and unionized staff, which is ill-timed given upcoming contraction negotiations between the WGA and the Alliance of Motion Picture and Television Producers, which represents Hollywood studios and streamers. In 2023, the WGA went on its longest-ever strike, lasting 148 days.

Comedian and Emmy-nominated producer Roy Wood Jr., who this year hosted the WGA’s East Coast ceremony for the third time, during his opening monologue offered (in jest) his predictions for the negotiations, which begin later this month.

“First, I predict somebody’s gonna lose their s—,” the host said. “Cooler heads are gonna prevail, and then somebody else is gonna lose their s—.”

Here is the full list of Writers Guild Award winners:

Original screenplay: “Sinners,” written by Ryan Coogler; Warner Bro. Pictures

Adapted screenplay: “One Battle After Another,” screenplay by Paul Thomas Anderson, screen story by Paul Thomas Anderson, inspired by the novel “Vineland” by Thomas Pynchon; Warner Bros. Pictures

Documentary screenplay: “2,000 Meters to Andriivka,” written by Mstyslav Chernov; Frontline Features

Drama series: “The Pitt,” written by Cynthia Adarkwa, Simran Baidwan, Valerie Chu, R. Scott Gemmill, Elyssa Gershman, Joe Sachs, Noah Wyle; HBO Max

Comedy series: “The Studio,” written by Evan Goldberg, Alex Gregory, Peter Huyck, Frida Perez, Seth Rogen; Apple TV

New series: “The Pitt,” written by Cynthia Adarkwa, Simran Baidwan, Valerie Chu, R. Scott Gemmill, Elyssa Gershman, Joe Sachs, Noah Wyle; HBO Max

Limited series: “Dying for Sex,” written by Sheila Callaghan, Harris Danow, Madeleine George, Elizabeth Meriwether, Amelia Roper, Kim Rosenstock, Sasha Stewart, Sabrina Wu, Keisha Zollar; FX/Hulu

TV & Streaming Motion Pictures: “Deep Cover,” written by Derek Connolly and Colin Trevorrow; Prime Video

Animation: “Shira Can’t Cook” (“Long Story Short”), written by Mehar Sethi; Netflix

Episodic drama: “7:00 A.M.” (“The Pitt”), written by R. Scott Gemmill; HBO Max

Episodic comedy: “Prelude” (“The Righteous Gemstones”), written by John Carcieri, Jeff Fradley, Danny R. McBride; HBO Max

Comedy/variety series – talk or sketch: “Last Week Tonight with John Oliver,” senior writers: Daniel O’Brien, Owen Parsons, Charlie Redd, Joanna Rothkopf, Seena Vali; writers: Johnathan Appel, Ali Barthwell, Tim Carvell, Liz Hynes, Ryan Ken, Sofía Manfredi, John Oliver, Taylor Kay Phillips, Chrissy Shackelford; HBO Max

Comedy/variety specials: “Marc Maron: Panicked,” written by Marc Maron; HBO Max

Quiz and audience participation: “Celebrity Jeopardy!”, head writer: Bobby Patton; writers: Kyle Beakley, Michael Davies, Terence Gray, Amy Ozols, Tim Siedell, David Levinson-Wilk; ABC

Daytime drama: “The Young and the Restless,” associate head writers: Jeff Beldner, Marla Kanelos, Dave Ryan; writers: Susan Banks, Amanda L. Beall, Marin Gazzaniga, Rebecca McCarty, Madeleine Phillips; CBS/Paramount+

Children’s episodic, long form and specials: “When We Lose Someone” (“Tab Time”), written by Sean Presant; YouTube

Short form streaming: “The Rabbit Hole with Jimmy Kimmel,” writers: Jimmy Kimmel and Jesse Joyce; YouTube

Documentary script – current events: “Trump’s Power & the Rule of Law” (“Frontline”), written by Michael Kirk and Mike Wiser; PBS

Documentary script – other than current events: “Forgotten Hero: Walter White and the NAACP” (“American Experience”), written by Rob Rapley; PBS

News script – regularly scheduled, bulletin or breaking report: “Devastating Flooding in Texas” (“World News Tonight with David Muir”), written by David Muir, Karen Mooney and Dave Bloch; ABC News

News script – analysis, feature or commentary: “Remembering Palestinian Journalists Killed by Israeli Forces” (“Ayman”), written by Lisa Salinas; MSNBC

Digital news: “An Isolated Boarding School Promised to Help Troubled Girls. Former Students Say They Were Abused.,” written by Sebastian Murdock and Taiyler Mitchell; HuffPost

Radio/audio documentary: “Jerry Lewis’ Lost Holocaust Clown Movie” (“Decoder Ring”), written by Max Freedman; Slate

Radio/audio news script – regularly scheduled, bulletin or breaking report: “ABC News Radio Top of the Hour News”, written by Robert Hawley; ABC News Radio

Radio/audio news script – analysis, feature or commentary: “The Life and Legacy of Jimmy Carter,” written by Gail Lee; CBS News Radio

On air promotion: “CBS Comedy,” written by Dan Greenberger; CBS

Times staff writers Stacy Perman and Cerys Davies contributed to this report.

This article contains spoilers for Season 2, Episode 9 of “The Pitt.”

Midway through Season 2, “The Pitt” has taken on the perils of the digital age and given me a reason to love the show as much as everyone else does.

Don’t get me wrong — I understand perfectly why so many people, including recent Emmy and Golden Globe voters, have lost their minds over the HBO Max medical drama: The propulsive day-in-the-life of a Pittsburgh ER conceit, the dazzling ensemble cast, the writers’ heroic attempts to showcase our perilously broken healthcare system, the healing power of empathy and, of course, the Noah Wyle-ness of it all. His brilliant and gentle-voiced Dr. Michael “Robby” Robinavitch is as aspirational a character on television as we’ve ever seen.

But having recently spent almost six hours passing out and vomiting from pain in the waiting room of my local ER (which was empty except for one other man), while being told there was nothing anyone could do until the next shift arrived, I confess I have watched “The Pitt” with a jaundiced eye. The regular crowd shots of the waiting room too often reduce the afflicted into a zombie-like horde bent on making life more difficult for our beloved medical staff.

Sure it’s tough to work in an ER when you are worried about your mother’s expectations, grieving your dead mentor, struggling with addiction or worrying about your sister, but no doubt many of those in the waiting room are experiencing similar issues while also in terrifying and hideous pain.

I’m just saying.

In this second season, however, “The Pitt” gave me reason to cheer. It chronicles the day before Robby is set to leave on a three-month sabbatical, and in the early hours, we meet his temporary replacement, Dr. Baran Al-Hashimi (Sepideh Moafi). Having already attempted to force those suffering in waiting rooms to create their own “patient portals,” Dr. Al-Hashimi goes on to advocate for an AI-supported system to aid the doctors with pesky paper work.

Robby, of course, does not think any of this is a good idea and since he is always right (and no television writer is going to openly promote AI), her plan backfires almost immediately. First, with a medical notes transcription that gets Very Important words wrong and then after a complete digital blackout.

After a nearby hospital is hacked and ransomed, the higher-ups decide to defend its system by shutting it down, which means business must be conducted in the old-fashioned, paper-and-clipboards way.

The result is chaos, and a few too many jokes about young people not knowing how to work a fax machine or manage paper. Some of the more seasoned staff, including and especially the indefatigable charge nurse Dana Evans (Katherine LaNasa), remember the days before everyone carried an iPad well enough to keep things moving. Even so, Dana wisely calls upon the services of “retired” clerk Monica Peters (Rusty Schwimmer).

When the computer system at the Pitt is shut down, Dana (Katherine LaNasa), center, calls in Monica (Rusty Schwimmer), far right, who arrives to help.

(Warrick Page / HBO Max)

“Laid off by the digital revolution, not retired,” Monica corrects her. “And how’s all this digital s— working out for you now?”

This is where I cheered. I love the digital world as much as the next person currently typing on a computer to file a story that I have discussed with my editors on Slack and that I will not see in hard copy until it appears in the physical paper. But like pretty much everyone, I have suffered all manner of digital breakdowns and mix-ups, not to mention the inevitably increased workload that comes with the perception that I can do the work of previous multitudes with a few additional strokes of a keypad.

Except, of course, that’s a lie — a keypad is capable of nothing on its own. Neither are fingers, for that matter. They must be manipulated by someone whose brain has to figure out and execute whatever needs to be done. This requires an ability to navigate the ever-changing tech systems that store and distribute information (often in ways that are not at all intuitive) while also understanding the essentials of the actual work being done.

In “The Pitt,” that is the emergency medical treatment of human beings, which requires all manner of physical tasks. As this storyline makes clear, many of the medical staff do not quite understand how to order or handle these tasks without a screen to guide them.

Hence the need for Monica, representative of a large number of support workers who do understand because it was once their job to keep everything moving, to answer all manner of questions, prioritize what needs to be fast-tracked and make sure nothing falls through the cracks while also engaging with all and sundry on a human level.

The shutdown is obviously an attempt to underline the limits of AI but it also serves as a fine and necessary reminder of how readily we have surrendered people like Monica, with their knowledge and experience, to keyboards and touch pads (which, of course, don’t require salaries, benefits or lunch breaks).

But — and this is important — computers are tools not workers. Alas, that has not kept companies in virtually every industry from drastically cutting back on trained and experienced employees and handing large portions of their work (mental if not physical) to people, in this case doctors and nurses, who already have demanding jobs of their own.

But hey, you get a company iPad!

Nurse Dana (Katherine LaNasa), left, and Dr. Baran Al-Hashimi (Sepideh Moafi) have to resort to paper, clipboards and white boards to keep track of patients after the hospital’s systems are shut down.

(Warrick Page / HBO Max)

Often, including with those patient portals, what was once paid labor lands in the lap of the consumers, who in “The Pitt” are people sitting in an emergency room and likely not at the top of their game when it comes to filling out forms about their medical history or coming up with a unique password.

ER dramas, like the “The Pitt,” are inevitably fueled by the tension between the demands for speed and the need for humane care, something that is increasingly true, if not as intrinsically necessary, in all facets of our culture.

With computers in our pockets, we now expect everything to be available instantly. But when something in our online experience goes wrong, we need an actual human to help us fix it. Unfortunately, as the overwhelmed staff of the Pitt discover, those people are increasingly difficult to find because they have been laid off — even nurse Dana can’t do everything!

Dr. Al-Hashimi, like many, believes that patient portals and AI-assisted medical notes will save time, allowing the doctors and nurses to spend more of that precious commodity with their patients. But, as Dr. Robby and Dana repeatedly argue, what they really need is more staff.

There’s no point in saving a few minutes at the admittance window, or on an app, if you are then going to have to spend hours waiting for or trying to find someone who can actually help you when you need it.

That is certainly true in the medical sector, where digital technology has done little to eradicate long wait times for medical appointments or in emergency rooms. Being treated in a hospital hallway by people who can barely stop to talk to you is not an uncommon occurrence for many Americans. The U.S. is facing a critical shortage in hospital staff, with the ranks of registered nurses and other medical personnel having plummeted post-pandemic, often due to burn out.

The amount of time the staff of “The Pitt” spend with each patient, while dramatically satisfying, is almost as aspirational as the wisdom and goodness of Dr. Robby.

None of these problems is going to be solved by AI or any other “time-saving” device. We have not, as far as I know, figured out a way to extend an hour beyond 60 minutes or modified the human body so that it does not require seven to nine hours of sleep each night.

Medical institutions aside, I can’t think of any place I have visited lately that wouldn’t have benefited from more paid and experienced workers, especially those who know how to do things when computers glitch or fail.

The minute Monica sits down and starts barking orders in the ER, everyone feels much better. Here is someone who understands what needs to be done, why, and how to make it happen. Moreover, she has eyes, ears, hands and human experience enough to know that, in the end, people are less interested in saving time than getting the care they need.

In the ER and everywhere else.

The following article contains spoilers for Episode 7, “1:00 P.M.,” of “The Pitt” Season 2.

The education begins almost immediately. A young woman who has just experienced a sexual assault is in triage, and “The Pitt’s” Dr. Robby (Noah Wyle) enlists Dr. Al-Hashimi (Sepideh Moafi) to assist charge nurse Dana Evans (Katherine LaNasa) with the patient.

“We can call for a SANE,” another nurse suggests when Dana says she’ll be occupied.

“On a holiday? Could be hours,” responds Dana, a veteran who knows better, as the Fourth of July shift enters afternoon hours. “We’re not going to make this patient wait. And since I’m the only SANE on staff …”

A what? The quick reference sets in motion what “The Pitt” aims to shed light on: a sexual assault forensic exam, also known as a rape kit exam. The episode delves into the confidential medical procedure to collect DNA and evidence and gives one of the most detailed depictions of the process for television.

But before cameras venture into the room with the patient, Dana gives recent nursing school graduate Emma (Laëtitia Hollard) — and the audience — an overview. A SANE is a sexual assault nurse; they perform forensic exams, collect evidence and hand it over to the police, if a report is made. They also provide resources, support and may even testify in court.

The storyline serves a dual purpose, according to Kirsten Pierre-Geyfman, who co-wrote the episode with the show’s creator, R. Scott Gemmill. “We wanted to highlight the very important and incredible work of a SANE, especially in the department setting,” she says. “And we also wanted to see the bravery it takes for a survivor to come forward, let alone do a rape kit … It’s not an easy decision for somebody to make, and it’s not an easy process for somebody to go through.”

To help construct a realistic and sensitive portrayal of the exam process, “The Pitt’s” writing team and actors worked with a number of consultants, including the UCLA Health Rape Treatment Center and Pittsburgh Action Against Rape (PAAR).

“I wanted people to understand the extent of the exam, I think that’s a misconception among a lot of people,” said Dr. Kathleen Sekula, a SANE at Duquesne University in Pittsburgh who also consulted the show’s team.

Ilana (Tina Ivlev) arrives at the ER in Episode 7 of “The Pitt.”

(HBO)

The case in Episode 7, “1:00 P.M.,” involves a visibly shaken young woman, Ilana, played by Tina Ivlev. The writing team knew they wanted to detail the process, not the trauma, Pierre-Geyfman said, so the information about what Ilana experienced is minimal: She was at a barbecue with friends when she was assaulted by a male friend.

“The thing that struck me was the fact the other shows might focus on what happened and then dive into that,” Ivlev said. “What I loved about this, the minute she starts talking about it, they cut [away]. There’s so much underneath it. I wanted it to be similar to real life when you have a traumatic situation happen — sometimes you can be hyperfocused on certain details, then other things are cloudy. Her head is spinning. She’s in shock.”

As with many of “The Pitt’s” cases, the story serves to bolster the emotional arc of the show’s healthcare providers, in this case Dana, who assists with the exam from start to finish as the department’s certified SANE nurse. Last season, she was brutally punched in the face by a disgruntled patient while taking a smoke break. That violent attack left her rattled and contemplating an exit from the job, but after taking a few weeks off, she ultimately returned to work — though the assault’s lingering impact has sharpened her edges.

“With Dana’s arc and her own assault last season, she’s definitely calcified a little this season,” Pierre-Geyfman said. “She’s trying to create a little bit of distance between her and her patients, and is really trying to prioritize her nurse’s safety. You see her struggle a little bit with that with this patient. She’s wanting to do more for her.”

On screen, the assessment begins with Dr. Al-Hashimi checking to see if Ilana has any injuries that need immediate attention and getting an intake of prescription medications and any known allergies to medications. Securing two triage rooms to complete the exam as a way to ensure privacy in the busy emergency department, Dana, with help from Emma, begins the evidence collection while carefully outlining the process to Ilana. For starters, once Dana opens the kit, Ilana cannot leave the room but is free to take a break as needed.

To avoid contamination, Dana puts on a face shield and opens the kit, which is a rectangle-shaped box that contains items like paper bags to store evidence and swabs for collecting biological samples. The first step requires Ilana to change into a robe, undressing on top of pads placed on the floor so each item of clothing can be packaged into separate bags and collected as evidence. She’ll be given new clothes, Dana assures her. Dana raises a large piece of cloth to give Ilana privacy as she completes the process.

Eventually Dr. Al-Hashimi returns to examine Ilana, checking for any pain on her body or need for X-rays or imaging — she notes two areas of bruising to be documented by Dana with photos. Dana seals the camera’s memory card in an evidence envelope. Next, with the lights off, Dana runs a black light over Ilana’s body. Dana relays that if there’s a part of Ilana’s skin that glows, she’ll swab it with a wet, then dry, cotton swab. Dana next swabs Ilana’s mouth — the inside of her cheek and along the gum line — and her finger nails. At various points, Dana is careful to assess Ilana’s comfort with each step and uses statements like “This will not define you,” while Ilana shows signs of stress about the length of the process.

Emma (Laëtitia Hollard) assists Dana (Katherine LaNasa), who leads the exam as the SANE (sexual assault nurse) on duty.

(HBO)

At one juncture, an advocate from Pittsburgh Action Against Rape, otherwise known as PAAR, arrives to further detail the resources and assistance they can offer, a service that’s available regardless of whether a patient decides not to complete the rape kit exam. Throughout the process, Ilana is assured that she can complete the exam even if she’s vacillating on whether to file a police report — that decision can be made at a later time and none of it goes on her permanent medical record. But when the exam pivots to external and internal vaginal collection, Ilana panics once she’s instructed to place her feet in stirrups to get into position. Dana suggests a break.

“I don’t want a break, I want to stop,” Ilana proclaims. “He’s my friend. He knows all my friends. It was just a dumb — he was drunk. He didn’t mean — it didn’t mean anything.”

It brings a pause to the process, which will carry over into Episode 8. In trying to show the scope of the exam, the medical drama takes liberties in its completion time. Sekula said it’s rare for an exam to be completed in under three to four hours.

Not all nurses are certified to be a SANE, and certification requirements vary by state, according to Sekula. It’s a role that requires extreme attention to detail and thoroughness, as their work bridges the healthcare and legal systems. While preparing for the episode, Hollard said she marveled at the precise protocols involved and the support that’s provided.

“On a technical level, it’s so meticulous,” Hollard said. “There’s so many parts, so many envelopes. You have to take these swabs and they can’t touch each other. And the legality of it all — the way this kit is happening is how they would do it with PAAR in Pittsburgh, but that’s not the same way they do it in California, or [the way] they do it in different states.”

While “The Pitt” is frequently recognized for its hyperrealistic medical procedures, the episode’s director, Uta Briesewitz, knew she wanted to film the exam in a way that mirrored the sensitivity healthcare professionals strive to exhibit, with shots that weren’t invasive or fixated on Ilana’s body. For example, when Ilana is undressing, the camera is fixed on Dana being mindful to give her privacy even in their close proximity — an out of focus glimpse of Ilana’s bare backside comes only when getting a reaction of Emma taking in the weight of the moment. Later, when the blue light is being run down Ilana’s body, her hospital gown is carefully place to avoid exposure. In addition to a SANE consultant being on set to assist with queries about the process, there was also an intimacy coordinator to help with the comfort level of filming the scenes.

“On a technical level, it’s so meticulous,” said Laëtitia Hollard of the process. “There’s so many parts, so many envelopes. You have to take these swabs and they can’t touch each other.”

(HBO)

“It was a very sensitive line because women can get re-traumatized,” Briesewitz said. “I remember one of our more detailed conversations with our SANE nurse was about when Dana had to look with the black light for bodily fluid. How do we make sure she would not miss anything but, at the same time, give the victim the feeling that they’re still protected? It was super helpful to have our SANE advisor on set to say the way she would do it. ‘One arm comes out of the sleeve, then I hold up her gown this way, and I would do it like that …’”

LaNasa found her time at the UCLA Health Rape Treatment Center crucial to chart both her character’s ease in the room and her sensitivity to the task at hand: “I went back a second time because I knew I was going to have to use the kit … I wanted it to look like I had used the kit many times and I knew what I was doing.”

Reflecting on the case as a mirror to her character’s journey, LaNasa pointed out that Dana never pressed charges against Doug Driscoll, the man who assaulted her.

“It’s different in this situation,” LaNasa acknowledged. “I thought it was great information that we got out of this, which is that you can go and do a rape kit, you can have the evidence collected, and you don’t have to decide on that day when you’re traumatized if you want to press charges or not. I think that part of Dana’s hypervigilance is probably because there was no justice for her. I think why she’s cracked this season is because she didn’t take care of herself. She’s reeling from that. She let him beat her up. At the same time, she doesn’t want Tina’s character to feel any pressure, but I think she wants it for her. She wants her to have the ability to change her mind later.”

“We’re going to hear Dana, later in the season, refer back to this process that these people have to go through, in defense of a sexual assault victim,” LaNasa teased. “It’s big on her mind. She’s been doing it quite a while.”

A viral AI-generated video of actors Brad Pitt and Tom Cruise fighting atop a building is causing a stir online.

The 15-second video comes from the latest AI video-generation platform, Seedance 2.0. The platform was launched this week by its owner, ByteDance, the same Chinese parent that oversees TikTok. As the video circulates online, the Motion Picture Assn. and other industry stakeholders have called out the video for its unauthorized use of copyrighted works.

Charles Rivkin, chief executive of the Motion Picture Assn., wrote in a statement that the company “should immediately cease its infringing activity.”

“In a single day, the Chinese AI service Seedance 2.0 has engaged in unauthorized use of U.S. copyrighted works on a massive scale,” wrote Rivkin. “By launching a service that operates without meaningful safeguards against infringement, ByteDance is disregarding well-established copyright law that protects the rights of creators and underpins millions of American jobs.”

The video was posted on X by Irish filmmaker Ruairi Robinson. His post said the 15-second video came from a two-line prompt he put into Seedance 2.0.

Rhett Reese, writer-producer of movies such as the “Deadpool” trilogy and “Zombieland,” responded to Robinson’s post, writing, “I hate to say it. It’s likely over for us.”

He goes on to say that soon people will be able to sit at a computer and create a movie “indistinguishable from what Hollywood now releases.” Reese says he’s fearful of losing his job as increasingly powerful AI tools advance into creative fields.

“I was blown away by the Pitt v Cruise video because it is so professional. That’s exactly why I’m scared,” wrote Reese on X. “My glass half empty view is that Hollywood is about to be revolutionized/decimated.”

Reese isn’t alone in thinking AI could potentially “decimate” Hollywood and take away jobs. Creating protections against AI was one of the main reasons both SAG-AFTRA and the Writers Guild went on strike in 2023. But some members argue that those measures — now nearly three years old — did not go far enough.

As SAG-AFTRA reentered contract negotiations with the studios earlier this week, AI is still one of the union’s highest priorities. It’s expected that the actors union could propose what has been called the Tilly tax, a fee that studios would have to pay to the union in exchange for using an AI-generated actor — a response to the introduction of Hollywood’s first AI actor, Tilly Norwood.

In a statement to The Times, SAG-AFTRA confirmed that the union stands with the studios in “condemning the blatant infringement” from Seedance 2.0, as video includes “unauthorized use of our members’ voices and likenesses.”

“This is unacceptable and undercuts the ability of human talent to earn a livelihood. Seedance 2.0 disregards law, ethics, industry standards and basic principles of consent,” wrote a spokesperson from SAG-AFTRA. “Responsible A.I. development demands responsibility, and that is nonexistent here.”