The Daily Parker

The Screen Actors Guild/AFTRA voted to strike today, halting most TV and film production worldwide (and even ending the Oppenheimer red carpet). The Times explains:

About 160,000 television and movie actors are going on strike at midnight, joining screenwriters who walked off the job in May and setting off Hollywood’s first industrywide shutdown in 63 years.

The leaders of the union, SAG-AFTRA, approved a strike on Thursday, hours after contract talks with a group of studios broke down. Actors will be on the picket line starting on Friday.

“What’s happening to us is happening across all fields of labor,” said Fran Drescher, SAG-AFTRA’s president. “When employers make Wall Street and greed their priority and they forget about the essential contributors who make the machine run, we have a problem.”

While some actors do get $15 million for a single movie, most just do their jobs and hope they get a fair wage. They also hope that the studios will pay them when their work gets re-run, which still happens on network television but not, it turns out, on streaming services:

In December, 2020, in the depths of pandemic winter, the actress Kimiko Glenn got a foreign-royalty statement in the mail from the screen actors’ union, sag-aftra. Glenn is best known for playing the motormouthed, idealistic inmate Brook Soso on the women’s-prison series “Orange Is the New Black,” which ran from 2013 to 2019, on Netflix. The orchid-pink paper listed episodes of the show that she’d appeared on (“A Whole Other Hole,” “Trust No Bitch”) alongside tiny amounts of income (four cents, two cents) culled from overseas levies—a thin slice of pie from the show that had thrust her to prominence. “I was, like, Oh, my God, it’s just so sad,” Glenn recalled. With many television and movie sets shuttered, she was supporting herself with voice-over jobs, and she’d been messing around with TikTok. She posted a video in which she scans the statement—“I’m about to be so riiich!”—then reaches the grand total of twenty-seven dollars and thirty cents and shrieks, “WHAT?”

When “Orange” premièred, ten years ago this week, it broke ground in multiple ways. ... A decade on, however, some of the cast feel disillusioned about how they were compensated, both during the original run and in the years since. Television actors have traditionally had a base of income from residuals, which come from reruns and other forms of reuse of the shows in which they’ve appeared. At the highest end, residuals can yield a fortune; reportedly, the cast of “Friends” has each made tens of millions of dollars from syndication. But streaming has scrambled that model, endangering the ability of working actors to make a living.

Netflix didn’t share its viewership numbers (and still mostly doesn’t), making it harder for the actors to negotiate higher salaries. But the “Orange” cast could tell that the show was a megahit from their overnight fame.

Despite the Beatlemania-like fame, many cast members had to keep their day jobs for multiple seasons. They were waiting tables, bartending. DeLaria continued doing live gigs to keep up with her rent.

We saw this with video recordings and cable. We'll see it with the next technology that comes along. Because as in all fields, the owners of the businesses want to make money, and if they can get labor (or anything else considered "supply") cheaper, they do.

Pity the Emmys won't have a script this year. Or actors. Or, possibly, a telecast.

The first day of a sprint is the best day to consolidate three interfaces with three others, touching every part of the application that uses data. So right now, I am watching most of my unit tests pass and hoping I will figure out why the ones that failed did so before I leave today.

While the unit tests run, I have some stuff to keep me from getting too bored:

• The XPOTUS keeps confirming every theory about his behavior, this time that he only wants to run in 2024 to postpone the consequences of actions.
• Even those of us who support Ukraine in kicking the Russian invaders out of its sovereign territory think they simply can't join NATO right now.
• Julia Ioffe wonders why the fuck several retired government officials met with Russian Foreign Minister Sergei Lavrov, less because she thinks they're old white men who have never set foot in Russia, and more because Lavrov hasn't got the power to negotiate a discount at Macy's. (In fairness, she published her post hours before one of them, Richard Haass, went on NPR this morning to hawk his new book.)
• Media strategist Julia Alexander scratches her head about the CBS-ification of Prime Video.
• Meanwhile, the streamers and studios have decided to let the writers go broke before resuming talks with them in the fall, regardless of what the actors do.
• Pro Publica took a second look at the hypothesis that Covid-19 escaped from the Wuhan Institute of Virology, and now they're not so sure it's correct.

Finally, the 2023 Emmy nominations came out this morning. I need to watch The White Lotus and Succession before HBO hides them.

Update: 2 out of 430 tests have failed (so far) because of authentication timeouts with Microsoft Key Vault. That happens on my slow-as-molasses laptop more often than I like.

The Writers Guild strike seems remote from people watching streaming shows right now because the big streamers still have a lot of film ready to go. That, and most viewers don't even understand many of the things the writers have demanded. Hollywood Reporter recently got 14 writers from the ABC show Happy Endings to talk about how having all that experience in one room made it a better show—and how the "mini-rooms" and siphoning creative control to line producers who have never written so much as a short story are making most shows unwatchable:

I was talking to a writer on the picket line who is a supervising producer under an overall deal and she had been meeting up until the strike to go run shows — and she has never been on set one time. I said, “Ask yourself: Why do they want you to get this title of showrunner if you don’t have the experience to do the job?” That’s the real question, right? Because they want to create this fake position where the line producer is really in charge and they don’t show the showrunner the budget. They want to change what a “showrunner” is because they know they can’t do the job without everything we laid out of how you become a showrunner. They don’t want showrunners like there used to be. There’s a reason why they’re starting to restrict access of information to showrunners. This feels, sadly, like a bigger plan beyond just the staff size issue where they’ve said, “Oh, it’s a budget thing.” I was not sold on the minimum writer requirement at first.

If they limit your ability to make changes in the budget, they can control exactly what happens. On my most recent show, I had to fight for the writers to go to set for their episodes. And it was one of those issues where if I had not had access to the budget — which some showrunners are reporting that they do not have access to anymore — I wouldn’t be able to say, “Let’s find this money somehow.” Or when they told me that what I wanted to shoot was not shootable, then I wouldn’t be able to say, “No, it is shootable, but we need to shoot a shorter episode.” So unfortunately, it just allows people to control things on a studio and network level where they have people that work for them versus showrunners where sometimes they feel showrunners are off doing their own thing.

How many times have we seen a show that doesn’t totally make sense by the time we get to the end? It’s because you didn’t have a room of people breaking that story together, writing that story together, rewriting it together. You didn’t have ambassadors for each episode following it through to production, remembering those things so that if something’s getting rewritten in episode seven, the person who wrote episode two is like, “No, that’s going to screw up a thing that we started over here.” There isn’t a lot of thought that goes into it because these aren’t little movies. It’s not the same medium. You see a lot of people complaining about television now, that it’s not how it used to be. And everyone’s wondering why that is. And I personally think this is why that is.

On these mini-rooms, all the writers go off to script and aren’t paid for the week that they’re writing. If that were me, I would not be putting in my best effort because I’d be running around trying to find another job while I’m also expected to write the script. You turn it in and you’re like, “Good luck, I hope it works out for you,” because you’re not getting paid to rewrite it. And they’re all being written at the same time, so if your show is serialized, then your showrunner is left with these eight Frankenstein scripts that they have to make sense of as you’re going into production. You’re being set up to fail. If you are a first-time writer, if you’re a writer of color, if you’re a woman, that shit is 10 times harder for you because you’re not allowed to take up space in that way, so you have to eat it and keep going, and eventually you burn out. And those writers didn’t learn anything and the showrunner is put in an unfair position. All of it is bad.

Remember this time. By the '30s, you will hate everything about television if this keeps up.

The Daily Parker began as a joke-of-the-day engine at the newly-established braverman.org on 13 May 1998. This will be my 8,907th post since 1998 and my 8,710th since 13 November 2005. And according to a quick SQL Server query I just ran, The Daily Parker contains 15,043,497 bytes of text and HTML.

A large portion of posts just curate the news and opinions that I've read during the day. But sometimes I actually employ thought and creativity, as in these favorites from the past 25 years:

• Old Man Moskowitz, sent in by an old friend in New York, 26 May 1998.
• My all-time-favorite Jewish joke, 23 June 1998. (And my second-favorite, 31 January 2003.)
• My all-time-favorite engineering joke, 11 February 2000.
• An essay on conspiracies and coincidence, 22 January 2006.
• Rant about Microsoft certification exams, 29 June 2006.
• Feeling sad about the end of Kodachrome, 31 December 2010.
• My friends and I debate the merits (such as they were) of Wisconsin Governor Scott Walker (R), 26 March 2011.
• An examination of the Astrolabe lawsuit against the Time Zone Database, 22 October 2011, and Astrolabe's response on 14 October 2011.
• A rant about Tea Party Republicans, 14 August 2012.
• Three articles in the New York Times inspire two lengthy explanations and a rant, 18 December 2012.
• The Y2K problem and other date disasters in programming, 29 April 2018.
• The Music Theory A-Z challenge, starting on 1 April 2019.
• The entire series on logical fallacies, July-August 2019.
• My obituary for Parker, 18 November 2020.
• Star Trek: Discovery's 3rd season irked me, 3 December 2020.
• Neon CRM also irked me, 10 February 2021. (Hmm...I wrote longer blog posts in the months when I didn't have a dog.)
• Cassie comes home from PAWS, 16 March 2021.
• My struggles to play SimCity 4, 25 years after I bought it, 8 May 2021.
• Lots of posts tagged "Photography," but particularly around the time I finished scanning all my slides (from 1983 to 2001).

Also interesting is how I can chart key events in my life just by looking at how often I posted:

Right now, I'm predicting the 10,000th post on 5 August 2025. Keep reading and find out.

But for me, it was Tuesday:

• The Democratic National Committee has selected Chicago to host its convention next August, when (I assume) our party will nominate President Biden for a second term. We last hosted the DNC in 1996, when the party nominated President Clinton for his second term.
• Just a few minutes ago, Manhattan District Attorney Alvin Bragg filed suit in the Southern District of New York to enjoin US Rep. Jim Jordan (R-OH) from interfering in the prosecution of the XPOTUS.
• Speaking of the House Moron Caucus, Jonah Goldberg worries that the kids following people like Jordan and the XPOTUS have never learned how to behave in public, with predictable and dire consequences for public discourse in the future.
• And speaking of, uh, discourse, New York Magazine features Stephanie Clifford (aka Stormy Daniels) on its cover this week, in which the actor describes her meeting in 2006 with a "pop-culture curiosity" years before destroying American democracy even entered into his dementia-addled brain. It...isn't pretty.
• Jennifer Rubin thinks the Religious Right's "victory" in politicizing the Federal judiciary will cripple the Republican Party. (I believe she's right.)
• Today I learned that Guthrie's Tavern did not die during the pandemic, and in fact will offer free hot dogs during Cubs home games to all paying customers (while supplies last).
• Rishi Shah and Shradha Agarwal, the CEO and president of Chicago tech company Outcome Health, were convicted on 32 counts of fraud and other crimes for their roles in stealing investors' money.
• The Hubble Space Telescope has detected a runaway black hole moving close to 1,000 km/s with a 200,000-light-year tail of baby stars following it. (Those baby stars happened because at that speed, it wasn't able to pull out in time...)
• MAD Magazine cartoonist Al Jaffee, inventor of the Fold-In, died Monday at 102.

Finally, Tupperware has warned its creditors and shareholders that it may go out of business in what I have to call...an uncontained failure of the company.

As reported in The Economist this week, US Senator Tommy Tuberville (R-AL) composed a haiku to encapsulate the sum total of his understanding of how education works in the US:

All this woke, uh, Trans-
Gender athletes, CRT
Uh, 1619

(I edited slightly for meter.)

I mean, you have to admire how well this illustrates the intellectual firepower that Tuberville brings to the Senate, and how far Representatives Lauren Boebert (R-CO) and Marjorie Taylor Green (R-GA) have yet to go to approach his level.

Perhaps the first day of spring brings encourages some spring cleaning? Or at least, revisiting stories of the recent and more distant past:

• The Navy has revisited how it names ships, deciding that naming United States vessels after events or people from a failed rebellion doesn't quite work. As a consequence, the guided missile cruiser USS Chancellorsville (CG-62, named after a Confederate victory) will become the USS Robert Smalls, named after the former slave who stole the CSS Planter right from Charleston Harbor in 1862.
• Author John Scalzi revisited whether to stay on Twitter, given its "hot racist right-wing trash" owner, and decides why not? It's not like Musk will ever benefit financially from the app.
• Charles Blow revisited the (long overdue) defenestration of cartoonist Scott Adams, deciding it doesn't matter whether Adams was lazy or stupid, throwing him out the window was appropriate.
• Illinois Attorney General Kwame Raoul revisited the Equal Rights Amendment, but the DC Circuit Court of Appeals decided yesterday not to.
• WBEZ revisited the only other two Chicago Mayors who lost their re-election bids in the past century, Michael Bilandic and Jane Byrne.
• A group of US intelligence agencies revisited Havana Syndrome, without finding sufficient evidence to blame either an adversary government or an energy weapon.

Finally, here's a delightful clip of US Representative Jamie Raskin (D-Md.) patiently explaining to Rep. Lauren Boebert (R-Colo.) and her banana-republican party the difference between an adjective and a noun:

Let's start with combat-actor Jill Bearup explaining how the Netflix-ITV-BBC ban on corsets solves entirely the wrong problems:

Meanwhile, in the modern world:

• The National Transportation Safety Board reported that an axle on the 23rd car of the train that derailed in East Palesine, Ohio, had a bearing temperature 140°C over normal—which is 30°C over "critical." The crew were trying to stop the train when the bearing failed. Perhaps if the train had fewer cars, or more crew, or the proper braking system...if only.
• New York Magazine reports on the 20-something scammers who brought down Three Arrows Capital, and the people who should have known better before loaning them over $3 billion.
• Twitter has decided to shut off SMS-based multifactor authentication for most accounts, and most people don't understand that this is exactly the right thing to do. Use an authenticator app, people!
• I completely agree with Helen Lewis that the entire point of Roald Dahl's novels is his nastiness.
• Food manufacturers, including Kraft and Heinz, have started to squawk that the proposed (and I sincerely hope soon-halted) Kroger-Albertsons merger will lower their margins, which is what happens when monopolies are permitted. (Never mind what it will do to consumer prices.)
• I might have to miss the craft beer festival taking place less than 2 km from my house this weekend. Dang.

Finally, I missed an anniversary yesterday. On 22 February 2003, Saturday Night Live aired this bit of Tina Fey's genius:

John Scalzi explains why he doesn't write a lot of political posts anymore:

[S]o much political messaging these days, particularly on the right, is so performative that engaging with it is also performative, and a furtherance in distributing the original performative messaging. The political right in the United States understands that, inasmuch as it currently lacks a coherent political strategy other than will to power, it must keep its followers forever afraid, and its opponents forever on the defensive — spending their energy responding rather than doing anything else. So: outrage at trans people and black people and librarians and candies and anything else that will keep the outrage cycle going on for another 24 hours.

And, you know, I… just don’t want to. I’d like to say that it’s because I don’t have time, but I have the time, as much as I ever have with regard to this site. I just don’t have the inclination. So much of it is fucking trivial, for one — the individual incidents, to clarify, not the overall intent to strip everyone but white dudes of their rights — and all of it is “I said or did something shitty, now you have to respond, so I can play my next card.” Engaging in that level of rhetorical dishonesty for anything more than the length of a tweet feels icky, and even engaging in it for that long is fast losing its appeal.

As usual, he (the professional writer) puts in words what I've also felt. And he's completely correct, of course; you can't engage on policy when your opponent isn't serious.

Last night while packing I caught this interview with Rebecca Jennings, whose recent trip to Positano, Italy, taught her something important about travel in the Instagram era:

Positano is blessed with a mild Mediterranean climate and a proximity to luxury and wealth; it is home to one of the most famous and majestic hotels in the world and provided the backdrop for Diane Lane’s whirlwind romance in Under the Tuscan Sun. Twenty years later, the town has become synonymous with the grandest of influencer travelscapes, clogging Instagram with photos of beautiful people on boats, staring back in wonder at the skyline behind them.

It is also the most unpleasant place I have ever been.

The problem of travel at this particular moment is not too many people traveling in general, it is too many people wanting to experience the exact same thing because they all went to the same websites and read the same reviews. It’s created the idea that if you do not go to this specific bar or stay in this exact neighborhood, all the money and time you spent on being here has been wasted, and you have settled for something that is not as perfect as it could have been.

A vacation is not, or at least shouldn’t be, a to-do list, something to be optimized with meticulously timed reservations months in advance, though increasingly this is what travel is: Unless you’ve secured a reserved time slot, the must-see museums of Florence and “you have to eat here” pasta spots in Rome are inaccessible for those unwilling to spend hours in line or so cramped that being there is no longer enjoyable.

I agree with Jennings, but she hasn't exactly gone to uncharted journalistic territory here. This sort of column or essay comes up all the time: a young person discovers something that has always existed, attributes this to a new technology or something unique to her generation, and gets accolades from her cohort. I have once or twice followed the herd while traveling, but usually only because I got to the museum too late to see the interesting bits.

Why do you think I prefer to go to Europe in March and October?