Julie Blake and Zone Clack discuss WGA Strike – ATX – Deadline

Rosie Cordero/Deadline

A group of prominent writers, including Julie Blake and Jadeed Station 19 Showrunner Zoanne Clack opened up about the WGA strike and the major issues surrounding the walkout at the ATX Television Festival.

said the The Vampire Diaries Creator, who was speaking on the panel alongside Clack, Greg Iwinski, who wrote in Last Week Tonight with John Oliver And The Late Show with Stephen Colbert and curator Beau Willimon, who developed Netflix’s house of cards. Damon Lindelof was originally supposed to be at the panel but he didn’t show up.

“The lack of interest in artists and content creators has reached a breaking point. Before we didn’t have the support of other unions but now everyone is as angry as we are. We have a community of so much anger, there is an enemy in this not us. The second thing is God bless them, millennials and generation Z, A community of people who’ve seen shit hit them… Everything in this generation is about taking the fight to the streets. There’s an energy of vigor, that’s how they communicate and how they breathe,” added Blake. “We have the spirit of popular revolution.”

Plec, who has it girls on the bus Coming to Max’s We were liars At Amazon, she said she’s been fortunate to reap the benefits in her career, but amazing to protect those who come next. She added, “I have friends who have worked for 15 years in a row who don’t have jobs today and those who work in jobs that pay 30%, 40%, 50% and 60% less.”

Iwinski, who is also on the WGA East negotiating committee, highlighted the fact that many writers must live in Los Angeles and New York to do their jobs, which “are not cheap.” “You have to do it in a situation where you can now be someone who writes for a hit TV show and makes $80,000 a year and has to be on food stamps, even though your show has been nominated for awards that the studio is happy to take credit for,” he said.

Clack, who was recently named the supermodel station 19, She told Deadline after the commission that the upcoming seventh season of the ABC drama will be shortened as a result of the strike.

It also addressed one of the main issues of the book – being on set during production. “You have to be on set. You have to learn these things, you have to learn editing. You have to learn all of that, in order to get to the next stage and be a model that can do the job,” she said. “There’s also this culture of too young people coming in and not being in the writers’ room and not being in shows and doing shows. Sometimes that’s fine, but sometimes they need a lot of help. It’s also disgraceful to yourself if you’re handed this industry that’s worth A million dollars to manage…and you didn’t have the skills.”

It has also been pointed out that negotiations with AMPTP and the WGA consisted largely of labor attorneys and commercial affairs officials rather than studio heads. “I like to think that if Donna Langley or Susan Rovner or Perlina Igbokwe were all in the room making these decisions, it would be a much easier conversation,” Blake said. “I don’t know who is at the top.”

Iwinski used the NBA analogy when discussing the issue of small rooms. He said, “What if we had like two Superstars and they did the whole game?” “They’ll just have a ball that they can pass to each other and everyone else does what’s going on. That’s what’s going on with the size of the staff is they’re going so well what if these two all-star writers wrote all the episodes. If you’re a really important white guy, you can go Yeah, whatever or no, I want six writers. If you’re a lower-level or mid-level writer or a woman or a person of color or a woman of color, and you actually go to six writers, they’ll just say no, because the white man didn’t need them. You don’t need them. This is why we fight to the death for [room sizes]. “

Iwinski also talked about artificial intelligence. Some executives, he said, are “very exposed to steamware”. “There is an element of artificial intelligence that people count on the moon and send up a mountain,” he said. “The real problem here is that what you see in the studios is whether it doesn’t matter that it’s good.”