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The Writers Guild of America and the Alliance of Motion Picture and Television Producers have reportedly reached a tentative four-year deal for a new contract.

Negotiations between the union and film and TV studios began in March, with union leaders prioritizing more robust healthcare benefits, streaming residuals and protections against the misuse of AI tools.

Puck co-founder and reporter Matt Belloni first reported news of the tentative deal Saturday. The agreement represents a departure from standard practice, adding one more year to the WGA’s usual three-year contract. Additionally, it includes health plan and pension increases, bumps in streaming pay and protections that will police licensing for AI training.

The new contract is still subject to ratification following a vote by union members. The WGA and AMPTP did not immediately respond to requests for comment.

This tentative deal is a promising signal that the Writers Guild could avoid a strike after 2023’s historic work stoppage that lasted 148 days.

Separately, the Writers Guild of America West’s staff union has been on strike since mid-February.

The union’s current contract is set to expire May 1. WGA is the first of the Hollywood unions to reach a deal. SAG-AFTRA and the Directors Guild of America still need to reach an agreement with the studios.

The actors’ union began negotiations with the studios in February and extended those talks in March, but paused in order for the AMPTP to finish negotiations with the writers’ union. SAG-AFTRA and DGA’s contracts each expire June 30.

Even as California’s soundstages suffer from a slowdown in local production, the local economy may get a boost from the state’s expanded film tax credits.

Medical drama “The Pitt,” a “Family Guy” spin-off and a kids’ science competition show from late-night host Jimmy Kimmel are among the 16 shows that received tax credits for filming in the state, the California Film Commission said Wednesday.

In total, the projects represent $871 million in qualified in-state spending and are expected to generate $1.3 billion in economic activity in California. More than 4,500 cast and crew members will be employed across the 16 shows, along with more than 50,000 background actors, the film commission said.

New to this round of awardees are animated shows and competitions, which were added to the film and television tax credit program during its revamp last year. Under the program, producers can receive up to 25% of qualified production expenses back in the form of credits that they can apply toward tax bills they have in the state.

“California’s creative economy isn’t just part of who we are — it helps power this state forward,” Gov. Gavin Newsom said in a statement. “From the folks on the soundstage to the people designing the sets, these are jobs that anchor communities.”

HBO Max’s “The Pitt” received a credit of $24.2 million, while “Stewie,” a spin-off of Seth MacFarlane’s irreverent adult cartoon “Family Guy,” was awarded $6.4 million. Kimmel’s “Schooled!” competition show, which pits young scientists and their experiments against one another, secured $6.9 million.

Since the state’s production incentive program was bolstered last year, more than 100 films and TV projects have received tax credits.

But it has taken a while for those shows to jump-start local production, which has seen a sustained slump since the pandemic, the dual writers’ and actors’ strikes in 2023 and spending cutbacks at the studios.

That lag has affected the business of local soundstages.

For the first half of 2025, the average occupancy rate at Los Angeles County soundstages was 62%, slightly lower than the 63% average recorded in 2024, according to new data from the nonprofit FilmLA, which tracks local production.

Those figures mark a significant decline from the average occupancy rate of 90% seen from 2016 to 2022, according to FilmLA data.

That’s been a problem for local soundstage operators, which had aggressively funded development of new properties or acquired them only to see production slow.

Earlier this year, Hackman Capital Partners said it was turning over the historic Radford Studio Center in Studio City to Goldman Sachs.

Universal Pictures will now keep its new films in theaters for at least five weekends, a reversal from the studio’s previous policy of at least 17 days that was set during the pandemic.

The change takes place immediately, the studio said Thursday. That means it will apply to its newest film, the Colleen Hoover romance “Reminders of Him,” which is out in theaters this weekend. Other upcoming films include Christopher Nolan’s “The Odyssey,” which will be released in July.

“Our windowing strategy has always been designed to evolve with the marketplace, but we firmly believe in the primacy of theatrical exclusivity and working closely with our exhibition partners to support a healthy, sustainable theatrical ecosystem,” Donna Langley, chair of NBCUniversal Entertainment, said in an email to the New York Times, which first reported the news.

Focus Features, Universal Pictures’ specialty film arm, will keep its existing theatrical exclusivity policies, which vary on a case-by-case basis. Chloé Zhao’s “Hamnet,” for instance, was in theaters for 99 days, while 2024’s “Nosferatu” played for 58 days. The minimum is 17 days.

The amount of time films are available exclusively in theaters — known as “windowing” in industry jargon — has become a contentious topic of conversation in Hollywood.

That debate ramped up during the pandemic, when some studios shortened theatrical exclusivity periods in order to move films to release for video on demand or streaming.

Prior to the pandemic, those windows could be as long as 90 days. Now, the average is around 30 days.

Theater owners have argued that shorter windows cut into box office profits and train audiences to wait to watch a movie at home. Distributors have countered that a one-size-fits-all approach doesn’t necessarily work for smaller or mid-budget films, which may find a bigger audience via at-home viewing.

At last year’s CinemaCon trade conference, top theater lobbyist Michael O’Leary called on distributors to establish a minimum 45-day window, arguing there needed to be a “clear, consistent starting point” to set moviegoers’ expectations and affirm commitment to theatrical exclusivity.

The debate has become even more fierce as box office profits still have not recovered from the pandemic. Last year, theatrical revenue in the U.S. and Canada totaled about $8.87 billion, just 1.5% above 2024’s disappointing $8.74-billion tally.