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      Drew Barrymore Dropped as National Book Awards Host After Strike Backlash

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      The actor and TV host’s decision to return her talk show to the air, bypassing striking writers, made her a magnet for criticism, online and off.Drew Barrymore has been dropped as the host of the National Book Awards, the foundation that presents the prizes said Tuesday, after the actress received a barrage of criticism for deciding to bring back her daytime talk show despite the strike by television writers.The National Book Foundation, which presents the awards each year, said in a statement that its decision was meant to “ensure that the focus of the awards remains on celebrating writers and books.”“The National Book Awards is an evening dedicated to celebrating the power of literature, and the incomparable contributions of writers to our culture,” the statement said. “In light of the announcement that ‘The Drew Barrymore Show’ will resume production, the National Book Foundation has rescinded Ms. Barrymore’s invitation to host the 74th National Book Awards Ceremony.”On Monday, unionized writers from the Writers Guild of America, as well as striking actors, picketed outside the CBS studios in New York City where “The Drew Barrymore Show” was resuming filming for the first time since April — without the show’s three unionized writers.The network said that the show would be returning on Sept. 18 without written material that is “covered by the W.G.A. strike,” a similar approach to that taken by “The View,” which began airing episodes from its new season this month, circumventing union writers.Barrymore, who had stepped down as the host of the MTV Movie and TV Awards in May in solidarity with the striking Hollywood writers, was greeted by a wave of critical backlash online after the decision to go back on air. She defended the show’s return on Instagram, saying in a post, “I want to be there to provide what writers do so well, which is a way to bring us together or help us make sense of the human experience.”Barrymore’s critics included many high-profile writers, and Colson Whitehead, an author who won the National Book Award in 2016, gestured to the potential problem the foundation faced in having the actress as host after her decision.Representatives for Barrymore and her show did not immediately respond to requests for comment.The foundation’s statement concluded: “We are grateful to Ms. Barrymore and her team for their understanding in this situation.”The National Book Awards, one of the most prestigious literary awards in the United States, has often brought in prominent cultural figures and celebrities to host, in an effort to broaden its profile and to highlight the wide ranging cultural impact of books. Recent hosts include the author and TV host Padma Lakshmi, the author and comedian Phoebe Robinson, and actors like LeVar Burton, Nick Offerman and Cynthia Nixon.When the National Book Foundation announced this summer that Barrymore would host the awards, they praised her commitment to “the enduring belief that books have the power to change readers’ lives.” In her 2015 memoir, “Wildflower,” Barrymore credited books with restoring her sense of self after her tumultuous childhood and coming of age in the spotlight, and described how she tore through works by Jane Austen, Tolstoy and Joan Didion.This year’s ceremony is scheduled to take place at Cipriani Wall Street in Manhattan on Nov. 15, which creates a tight timeline that is likely to leave the foundation scrambling to find another high-profile host. More

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      Warner Bros. Suspends Deals With Top Show Creators

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      The move, which affected star writers like Mindy Kaling and J.J. Abrams, is an escalation of the standoff between Hollywood studios and the Writers Guild of America.When television and movie writers went on strike in May, studios quickly suspended certain first-look deals — mostly those for lesser-established writers. Star show creators like Mindy Kaling and J.J. Abrams were kept on the payroll. Worried about keeping them happy, even during a walkout, studios left their multimillion-dollar deals alone, shielding them from the pain of the strike.No more.In an escalation of the standoff between studios and the Writers Guild of America — it has entered its fifth month, with no end in sight — Warner Bros. moved late Wednesday to suspend deals with the 1 percent of television writers. That includes Ms. Kaling, a creator of the Max series “The Sex Lives of College Girls,” and Mr. Abrams, whose recent television efforts include “Duster,” a coming thriller set in the 1970s, according to two people briefed on the matter, who spoke on the condition of anonymity to discuss private suspension notices.Warner Bros. also suspended deals with Greg Berlanti (“Superman & Lois”) and Bill Lawrence (“Ted Lasso”), among others, the people said.A spokeswoman for Warner Bros. declined to comment. Representatives for the writers either declined to comment or did not return calls. A spokesman for the Writers Guild of America had no immediate response.Top writers have contractual protections that will ultimately enable them to receive all the compensation promised in their original deals. Warner Bros. is doing what is known as “suspend and extend,” according to the people briefed on the matter, meaning that the studio will halt payments for the duration of the strike — and then, when work resumes, extend the contracts by the amount of time they were suspended.The suspension of the A-lister deals suggests that the Alliance of Motion Picture and Television Producers, which bargains on behalf of studios, expects the strike to continue into the fall. (A representative for the studio alliance declined to comment.) Studio executives had signaled that Labor Day was an inflection point; the industry’s sitting idle beyond that date would have a severe impact on the 2024 release calendar, particularly for movies.J.J. Abrams’s deal was also suspended. The move can exert more pressure on the striking writers guild.Jerod Harris/Getty ImagesWarner Bros. Discovery said in a securities filing on Tuesday that the Hollywood strikes — tens of thousands of actors joined writers on picket lines in mid-July, the first time both unions have been on strike at the same time since 1960 — would negatively affect its 2023 earnings by up to $500 million.“We are trying to get this resolved in a way that’s really fair and everyone feels fairly treated,” David Zaslav, the chief executive of Warner Bros. Discovery, said at a Goldman Sachs event on Wednesday. “Having said that, in our guidance, we said that this would be resolved by September. And here we are in September. This is really a very unusual event — the last time it happened was 1960.”Suspending the deals of prominent writers is one way for the studios to try to put pressure on the Writers Guild. During the last writers’ strike, in 2007, a small group of showrunners agitated for union leadership to settle with the studios as the stalemate wore on. That strike lasted 100 days; the current strike is now at the 128-day mark.Studio officials and Writers Guild negotiators have not met formally since Aug. 23, when talks broke off for the second time and the companies publicly released their latest offer in an appeal to rank-and-file members. Studios were hoping the offer would look good enough for members to pressure their leaders to make a deal.But the move seemed to have the opposite effect, instilling the 11,500-member Writers Guild with renewed resolve to keep fighting. “The companies’ counteroffer is neither nothing, nor nearly enough,” guild leaders said in a note to members on Aug. 24. “We will continue to advocate for proposals that fully address our issues rather than accept half measures.”The studios defended their proposal as offering the highest wage increase to writers in more than three decades. The studios also said that they had offered “landmark protections” against artificial intelligence, and that they vowed to offer some degree of streaming viewership data to the guild, information that had previously been held under lock and key.Both the writers and the actors have called this moment “existential,” arguing that the streaming era has deteriorated their working conditions as well as their compensation levels.Nicole Sperling More

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      Hollywood Studios Disclose Their Offer on Day 113 of Writers Strike

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      The public disclosure of the Aug. 11 proposal was an unusual step and suggested an attempt to go around union leadership and appeal to rank-and-file members.In an apparent attempt to break a labor stalemate that has helped bring nearly all of Hollywood production to a standstill, the major entertainment studios took the unusual step on Tuesday night of publicly releasing details of their most recent proposal to the union that represents 11,500 striking television and movie writers.The studios are confronting significant decisions about whether to push the release of big-budget films like “Dune: Part Two” into the next year, and whether the network television lineup for the 2023-2024 season can be salvaged or reduced to reality shows and reruns.Shortly before the public release of the proposal, several chief executives at the major Hollywood companies, including David Zaslav, who leads Warner Bros. Discovery, and Robert A. Iger, the Disney kingpin, met with officials at the Writers Guild of America, the writers’ union, to discuss the latest proposal, according to a statement by the union’s negotiating committee. By releasing the proposal, the companies are essentially going around the guild’s negotiating committee and appealing to rank-and-file members — betting that their proposal will look good enough for members to pressure their leaders to make a deal. The writers’ union said that the studios’ offer “failed to sufficiently protect writers from the existential threats that caused us to strike in the first place.” The union described the public release of the companies’ proposal as a “bet that we will turn on each other.” The writers have been on strike for 113 days. The studios and writers resumed negotiations on Aug. 11 for the first time since early May. Since then, there has been optimism within the entertainment industry that the labor disputes might be on a path to resolution.But the public disclosure of the proposal by the Alliance of Motion Picture and Television Producers, which bargains on behalf of the studios, suggests that negotiations may have again reached an impasse. The studios and writers’ union had generally agreed to adhere to a media blackout while at the bargaining table, and the studio alliance has only occasionally released public statements before the guild.“We have come to the table with an offer that meets the priority concerns the writers have expressed,” Carol Lombardini, the lead negotiator for the alliance, said in a statement that accompanied the details of the latest proposal. “We are deeply committed to ending the strike and are hopeful that the Writers Guild of America will work toward the same resolution.”Hollywood has been effectively shut down since tens of thousands of Hollywood actors joined striking screenwriters on picket lines on July 14. Both the writers and actors have called this moment “existential,” arguing that the streaming era has deteriorated their working conditions as well as their compensation levels.The studios said that their latest proposal offered the “highest wage increase” to writers in more than three decades, as well as an increase in residuals (a type of royalty) that has been a major point of contention. The studios also said that they had offered “landmark protections” against artificial intelligence, and that they vowed to offer some degree of streaming viewership data to the guild, information which had previously been held under lock and key.In the statement, the studios said that they were “committed to reaching an equitable agreement to return the industry to what it does best: creating the TV shows and movies that inspire and entertain audiences worldwide.” More

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      Striking Writers and Studios Agree to Restart Negotiations

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      The two sides in the Hollywood stalemate will formally meet on Friday, after an informal sidebar session last week.As television and movie writers started their 101st day on strike on Thursday, the leaders of their union said they had agreed to formally restart negotiations with studios for a new three-year contract.“Our committee returns to the bargaining table ready to make a fair deal, knowing the unified W.G.A. membership stands behind us and buoyed by the ongoing support of our union allies,” the Writers Guild of America negotiating committee said in a statement. The session will take place in Los Angeles on Friday.The Alliance of Motion Picture and Television Producers, which bargains on behalf of entertainment companies, declined to comment. Carol Lombardini, the alliance’s president, contacted the Writers Guild on Wednesday with a request to return to formal negotiations. Her appeal followed an informal sidebar session between the two sides late last week.After that meeting, the Writers Guild sent a note to its 11,500 members saying Ms. Lombardi had indicated a willingness by studios to sweeten their contract offer in some areas, including finding ways to safeguard writers from artificial intelligence technology. The note added, however, that Ms. Lombardini had said studios “were not willing to engage” on other Writers Guild proposals, including success-based residual payments from streaming services. The note said guild leaders would not return to negotiations until studios were willing to engage on all proposals.The announcement of a return to the bargaining table was the first positive development in a dual labor walkout — tens of thousands of actors went on strike in mid-July — that has brought Hollywood production to a halt. Late-night television shows immediately went dark, and broadcast networks have retooled their fall seasons to include mostly reality series.Last week’s session, which lasted about an hour, was the first time the lead negotiators from each side had sat down in person since May 1, when talks collapsed. Both sides had characterized it as a meeting to determine whether it made sense to restart talks. With a strike starting to hurt companies and writers alike, was there a give-and-take to be had? Pressure has been increasing from multiple directions to reach an agreement.“It is critical that this gets resolved immediately so that Los Angeles gets back on track, and I stand ready to personally engage with all the stakeholders in any way possible to help get this done,” Karen Bass, the mayor of Los Angeles, said in a statement last Friday.Screenwriters and actors are worried about not receiving a fair share of the spoils of a streaming-dominated future. They say streaming-era business practices have made their profession an unsustainable one.Many streaming shows have eight to 12 episodes per season, compared with more than 20 made for traditional television. Writers are fighting for better residual pay, a type of royalty for reruns and other showings, which they have said is a crucial source of income for the middle-class writer whose compensation has been upended by streaming.The Writers Guild also wants studios to guarantee that artificial intelligence will not encroach on writers’ credits and compensation. The studios rejected the guild’s proposed guardrails, instead suggesting an annual meeting on advances in technology. (In recent weeks, studio executives have said in interviews that they made a mistake by not taking the union’s A.I. concerns more seriously.)The studios defended their offer after negotiations broke down, saying in a statement that it included “generous increases in compensation for writers.” The primary sticking points, studios have said, are union proposals that would require studios to staff TV shows with a certain number of writers for a specified period, “whether needed or not.”Caught in the crossfire of the Writers Guild and SAG-AFTRA, as the actors’ guild is known, are tens of thousands of crew members and small businesses (dry cleaners, caterers, lumber yards) that support movie and television production. The 2007-8 writers’ strike cost the California economy more than $2 billion, according to the Milken Institute, which recently estimated that losses this time could be double that figure. More

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      Actors are Turning to Cameo Amid SAG-AFTRA Strike

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      Others are using the service, through which fans can pay for personalized videos, to engage with followers while not publicly promoting work.On July 24 Cheyenne Jackson, an actor, posted a photo on Instagram that showed him shirtless, with glistening abs, veiny arms and his lips parted.“This is me subtly letting you know I’m back on @cameo,” its caption read.Cameo is a service through which celebrities and others can be paid to make personalized videos commemorating birthdays, bachelorette parties, divorces and the like. Mr. Jackson, who has appeared in the “American Horror Story” TV shows and in “30 Rock,” said in a phone interview that he reactivated his account because of the continuing strike by SAG-AFTRA, the actors’ union.Mr. Jackson, 48, charges $95 for a video message and cited bills — “I have two kids” — as one reason he is on Cameo. “There are only so much sources of income,” he said.“My husband cringed a little,” he added. “But you’ve got to do what you’ve got to do.”Since Cameo debuted in 2016, some actors have used it when traditional work has dried up. In 2021, as the pandemic raged, the actor Andrew Rannells joined Cameo to raise money for the Entertainment Community Fund, a nonprofit formerly known as the Actors Fund. On a recent episode of “And Just Like That…,” the “Sex and the City” reboot, the character Che Diaz, played by Sara Ramirez, starts making Cameo videos after a TV pilot is canceled.According to data provided by Cameo, there was a 137 percent increase in the number of accounts reactivated or created on Cameo in July compared to June (the strike started on July 14). The number of orders for videos remained about the same for each month, but Cameo said orders usually drop in July because there aren’t events like graduations and holidays like Father’s Day.Some of the new and reactivated accounts were for people unaffected by the strike, but others were for union actors like Mr. Jackson and Alyssa Milano. Fran Drescher, the SAG-AFTRA president, also reactivated her account, according to Cameo, though it is not currently accepting bookings.The actress Alyssa Milano, who charges $250 for a video message on Cameo, said she was using the service as an income supplement while traditional work has dried up.via CameoThe actress Christa B. Allen said she reactivated her Cameo account as a way to engage with fans at a time when she is making fewer public appearances.via CameoMs. Milano, 50, who charges $250 for a video message, said in an email that Cameo “is a great way to supplement some income during this idle time.” Ms. Drescher’s representatives said she was unavailable to comment for this article.While the actors’ union is on strike, its members are forbidden from filming most projects and from promoting most projects at movie premieres, film festivals and events like Comic-Con. But making Cameo videos, for the most part, is allowed, said Sue-Anne Morrow, the national director of contract strategic initiatives and podcasts at SAG-AFTRA.“As long as there’s no promotion of struck work within the Cameo, there’s no problem,” Ms. Morrow said in an email.In May, around the time that movie and television writers’ unions went on strike, the actors’ union finalized a deal with Cameo that allows its members to have earnings from certain bookings applied toward their health insurance minimum earnings requirement, Ms. Morrow said. Those bookings must be made through Cameo 4 Business, where corporate customers like insurance companies and grocery store chains hire talent for promotional videos.Ms. Morrow said that the union pursued the agreement because Cameo is one of many ways actors can support themselves when they’re not acting.The average price of a Cameo 4 Business booking is $1,700, said Steven Galanis, a founder of Cameo and its chief executive. Non-business bookings — the types of videos Cameo is most known for — average $70. Cameo receives 25 percent of the fee for any booking, and the rest goes to the talent.Mr. Galanis compared the opportunity created by the strike for Cameo to the period of time in the early pandemic when, as he put it, “every other income sort of dried up” for actors and other entertainers. “I’m hoping that the strike ends tomorrow,” he said. “But if it doesn’t, we’re going to be here.”On July 18, days after the actors’ union went on strike, Cameo announced a round of layoffs, which happened a little more than a year after the company laid off 87 workers in May 2022. Mr. Galanis declined to comment on the number of people affected by the recent layoffs, or on the number of people now working at Cameo.Some actors who have started reusing the service since the strike said that making money was not the only reason that they returned to it. Christa B. Allen, who has appeared in the TV show “Revenge” and in the film “13 Going on 30,” said that Cameo offers an opportunity to engage with fans at a time when she is making fewer public appearances.“We’re nothing without our fans,” she said. Cameo, she added, lets actors “connect with the people that love them and have supported their career in a time when they’re not going to be making traditional media.”Ms. Allen, 31, who uses the stage name Christa Belle, reactivated her Cameo account during the strike after using it sporadically since 2017. She charges $75 per booking and said she has made about $1,000 to date.“Cameo is not something I think of as a moneymaker,” she said. More

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      Hollywood Strike Leaves Influencers Sidelined and Confused

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      Despite not being in the actors’ union, many content creators are passing up deals to promote films or TV shows because they don’t want to be barred from the guild or face online vitriol.Deanna Giulietti is not in the actors’ union, but she turned down $28,000 last week because of its strike.Ms. Giulietti, a 29-year-old content creator with 1.8 million TikTok followers, had received an offer to promote the new season of Hulu’s hit show “Only Murders in the Building.”But SAG-AFTRA, as the union is known, recently issued rules stating that any influencer who engages in promotion for one of the Hollywood studios the actors are striking against will be ineligible for membership. (Disney is the majority owner of Hulu.) That gave Ms. Giulietti, who also acts and aspires to one day join the union, reason enough to decline the offer from Influential, a marketing agency working with Hulu.The union’s rule is part of a variety of aggressive tactics that hit at a pivotal moment for Hollywood labor and shows its desire to assert itself in a new era and with a different, mostly younger wave of creative talent. “I want to be in these Netflix shows, I want to be in the Hulu shows, but we’re standing by the writers, we’re standing by SAG,” Ms. Giulietti said. “People write me off whenever I say I’m an influencer, and I’m like, ‘No, I really feel I could be making the difference here.’”That difference comes at a cost. In addition to the Hulu deal, Ms. Giulietti recently declined a $5,000 offer from the app TodayTix to promote the Searchlight Pictures movie “Theater Camp.” (Disney also owns Searchlight.) She said she was living at home with her parents in Cheshire, Conn., and putting off renting an apartment in New York City while she saw how the strike — which, along with a writers’ strike, could go on for months — would affect her income.Representatives for Searchlight and TodayTix did not respond to requests for comment. Hulu and Influential declined to comment.The last time Hollywood’s screen actors and writers went on strike, social media platforms and the $5 billion influencer industry didn’t exist. The actors’ union began admitting content creators in 2021 and still has only a small number of them, but questions have quickly emerged around how the union’s dispute with the major Hollywood studios will affect popular internet personalities.The union’s message that content creators will be blocked from membership if they provide work or services for struck companies has sent many scrambling. A number of creators have pledged support for writers and actors and circulated “scab” lists of influencers who promote new releases or appear at related events. Others have been frustrated or confused by instructions from a union that doesn’t protect them, and that some had never heard of.SAG-AFTRA, which represents some 160,000 movie and television actors, approved a strike on July 13. The division with the studios is driven largely by concerns about compensation in the streaming era and artificial intelligence. They joined screenwriters, who walked off the job in May, the first dual shutdown since 1960. During the strike, actors are not able to engage in publicity efforts for their projects or appear at film festivals or events like Comic-Con.Influencers have become crucial to the entertainment industry in recent years, especially during the pandemic, building buzz and promoting products. They post videos to hype new TV shows and movies, appear on red carpets and at events like the MTV Video Music Awards, and unbox products tied to film and television characters. Typically, as in the case with Ms. Giulietti, outside agencies hire creators on behalf of the studios.“If I were to help the big studios amid this, I’m just hurting myself in the future,” said Mario Mirante, a comedian with 3.6 million followers on TikTok.Marshall Scheuttle for The New York TimesNow those activities, besides limiting their career ambitions, could lead to internet backlash, with one nonunion influencer already posting an apology video for appearing at a recent Disney movie premiere. Others have posted promotional videos anyway, without backtracking or pulling the content. At least one creator posting from a recent premiere opted to turn off their TikTok comments, possibly to avoid potential criticism. On the flip side, videos from creators about jobs and events that they rejected in solidarity with actors have racked up praise and views on TikTok.“We don’t have power to make decisions for the talent, but we will in this moment recommend not engaging with struck work or struck companies on paid or organic projects,” said Victoria Bachan, president of Whalar Talent, a unit of a creator commerce company that works with more than 200 content creators. She added that young creators were also more apt to be supportive of unions and organized labor.Still, Whitney Singleton, a 27-year-old with 1.2 million TikTok followers, has been frustrated by what is being asked of her. She had never heard of SAG-AFTRA until the past couple of weeks. Ms. Singleton, using the moniker @KeepUpRadio, has attracted fans by singing and rapping about her favorite video games like Fortnite and streaming herself playing video games. It has been her full-time job for three years. She has collaborated with struck companies like Amazon in the past.“I really do value creators, and I want them to get what they deserve,” Ms. Singleton said. “But it’s really hard for me to just be finding out about an organization and being expected to fall in line with their initiative when I feel like it’s new to me and the influencer space.”She said some influencers were being asked to turn down five-figure deals, and that “the majority of creators I’ve talked to about it feel it’s unfair that as nonunion members, they’re being included in this conversation.”Ms. Singleton was invited to an early screening of the “Barbie” movie and said that while it wasn’t a paid promotion, the union’s guidelines for promoting the movie were “what I would deem murky.” Ultimately, she decided to post about the event, for which she dyed her hair pink.“I actually got no negative feedback, it was all positive,” she said. “For a moment, I felt a bit scared and put in a corner with these requirements because I respect creators in all industries, but I wouldn’t be being true to my heart if I had let those things stop me from living my life and sharing the content.”The union did not respond to questions about the criticism or about how many influencers are included in its membership. The Alliance of Motion Picture and Television Producers, which negotiates on behalf of the biggest studios, has said its offers to the writers and the actors were “historic” improvements on their previous contracts.The reality for many creators is that they dream of someday achieving a level of fame beyond the smartphone screen, making the threat of blacklisting by Hollywood’s most powerful union an ominous one.Mario Mirante, a 28-year-old comedian on TikTok with 3.6 million followers, recently posted a popular video about turning down a deal to promote a show based on his support for actors and writers and his long-term ambitions. Mr. Mirante has hoped to work in Hollywood since childhood, and even has a tattoo of Jim Carrey as “Ace Ventura: Pet Detective” on his arm.“That’s a lot of influencers’ goal and aspiration and why they do it,” said Mr. Mirante, who lives in Las Vegas. “We love to entertain and express ourselves, and that’s the Super Bowl, that’s the ultimate, being in a movie or a TV show.”Mr. Mirante has previously been paid to promote the movie “Champions” starring Woody Harrelson and a product tied to the “Guardians of the Galaxy” franchise. “If I were to help the big studios amid this, I’m just hurting myself in the future, if that makes any sense,” he said. “Of course I’m not a part of it right now, but they’re fighting for basic rights, livable wages, not to have their A.I. likeness taken.”Krishna Subramanian, a founder of the influencer marketing firm Captiv8, said studios might need to pivot away from creators during the strike and get agencies to make more traditional display ads to place on Facebook and other sites.Simone Umba is a TikTok creator with more than 300,000 followers who primarily posts about TV shows and movies but has paused making such videos. She said that many influencers felt that they were “stuck in the middle,” but that most were opting to side with the union even as invitations and deals piled up.“We knew we were going to get approached, and it’s like we’re in a really messy family feud,” Ms. Umba, 26, said.She added, “Regardless of if you want to join the union or not, you don’t want to be one of those people that was willing to take a check instead of standing in support of people fighting for actual livable wages.”Ms. Umba said that it had been painful to miss out on posting about the star-studded “Barbie” movie after this summer’s marketing bonanza and that she had declined to attend an early screening of the film in Atlanta. She and a friend were messaging recently after trailers for “The Marvels” dropped, agonizing over their inability to post.“We were texting each other back and forth, like, this is so hard,” she said. She said she was prepared to hold out for months but was already thinking of holiday releases. She crossed her fingers, held them up and said, “Please, please, don’t let it get to Christmas.” More

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      ‘Barbenheimer’ Is a Huge Hollywood Moment and Maybe the Last for a While

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      The big launch of “Barbie” and “Oppenheimer” should have been a celebratory moment, but an industry on pause has darkened the mood.Margot Robbie in “Barbie” and Cillian Murphy in “Oppenheimer” will help bring hundreds of millions of dollars in box office receipts this weekend.Warner Bros Pictures/Universal Pictures, via Associated PressThe film industry’s happiest weekend in a long time may also be its last happy weekend for many months.With the dual opening of “Barbie,” Greta Gerwig’s comedy based on the Mattel doll, and Christopher Nolan’s “Oppenheimer,” a biopic about the mastermind behind the atomic bomb, the pop culture phenomenon of “Barbenheimer” is upon us. Though the movies are wildly different in style and tone, by helpfully landing on the same day, the buildup has so captured the public consciousness that many movie fans, who have been slow to return to theaters at all, are eager to watch two of the year’s most anticipated titles back-to-back.Analysts have predicted a record-breaking box office weekend: “Barbie” will debut well north of $150 million domestically and may even top the opening gross of this year’s champ, “The Super Mario Bros. Movie.” “Oppenheimer,” also in its first weekend, is set to make more than $50 million, a thunderous achievement for a dense, three-hour drama. For a theatrical sector still battered by the pandemic and diminished by the rise of streaming, this potent double win would normally presage popped corks all over Hollywood.But any champagne will come with caveats, as the two movies open during a dual strike that has brought the industry to a near-standstill.On Friday, the Hollywood actors’ strike reached the one-week mark, after the 160,000 members of the SAG-AFTRA union joined members of the Writers Guild of America, who have been on strike since May. Both labor actions are expected to last for months, scuttling plans to put new studio films into the pipeline and jeopardizing the ones already set to come out, since actors have been ordered not to promote them during the strike.“It’s the best of times, it’s the worst of times,” said Michael Moses, who oversaw the release of “Oppenheimer” in his role as the chief marketing officer for Universal Pictures.He noted that in the past few weeks, as the “Barbenheimer” hype grew, so did the animosity between the guilds and the Alliance of Motion Picture and Television Producers, the organization that bargains on behalf of the studios. With both sides entrenched and the strikes expected to continue into the fall, the mood for many in Hollywood this weekend will shift between joy and unease.“Celebrations are tempered,” Moses said. “But we still need a healthy business on the far side of this.”Even those cheering the success of “Barbenheimer” fear this weekend’s box-office sugar high might be short-lived. There are no other “Barbie”-level blockbusters on the release calendar until “Dune: Part Two” on Nov. 3, and even that sci-fi sequel could be delayed until next year if the actors’ strike persists, since stars like Timothée Chalamet, Zendaya and Austin Butler would be forbidden to take part in the film’s global press tour.Already, some upcoming films have had their release plans modified as a result of the SAG-AFTRA strike. The Helen Mirren drama “White Bird” and A24’s Julio Torres comedy “Problemista” were supposed to launch in August and are now without an official release date, while “Challengers,” a tennis romance starring Zendaya, on Friday abdicated its prestigious slot as the opening-night title at the Venice Film Festival, which begins Aug. 30. That film, like the Emma Stone comedy “Poor Things,” had been set for theatrical release in September in order to capitalize on a starry press push at Venice. Now “Challengers” has moved to April 2024, according to Deadline.Venice and the Toronto International Film Festival will announce their full lineups next week, and though those slates have the chance to build on the movie-loving momentum offered by “Barbenheimer” weekend, many wonder if they’ll be lacking the starry prestige titles studios normally send there. “If ‘Oppenheimer’ were a fall movie and I was taking it to Toronto, I think we’d probably at this point have decided not to take it,” said that film’s awards strategist, Tony Angelotti, citing the cost of reserving travel and lodging for the cast and makers of a major movie: “Would they refund your money if the strike continues?”While Hollywood braces itself for the next strike-related shoe to drop, Scott Sanders is feeling an unwelcome case of déjà vu. As one of the producers of a new movie-musical adaptation of “The Color Purple,” Sanders has spent months poring over a meticulous release strategy for the Fantasia Barrino-led film, due in theaters on Christmas Day. But all of that hard work could be dashed if Warner Bros. delays the movie, as it did three years ago with another Sanders-produced musical: “In the Heights” was pushed a full year to June 2021 because of the pandemic, and then released simultaneously in theaters and on HBO Max.Sanders said the studio has assured him that, so far, no discussions have been had about bumping “The Color Purple” into 2024. Still, he said, “If the other big tentpole holiday movies or awards-bait films start to shift, frankly, I’m going to be nervous.” He added, “The optimist in me thinks we have six or seven more weeks before we have to start taking Pepto Bismol.”The hype around “Barbie” and “Oppenheimer” could rekindle a love for moviegoing, Sanders said, but there might be few titles left to capitalize on it. “Are we going to keep the momentum going from this weekend?” he said. “Or are we going to suddenly pull the emergency stop in the next month or two and go back to square one again?”If that cord is pulled, it will have a significant ripple effect. Theaters that are barely back from the brink since the pandemic would be tested once again, while the films that were already dated for 2024 might be forced to free up space. And without the usual influx of year-end prestige films, this year’s awards season could look very different — and, in another way, all-too-familiar.“Worst-case scenario, every studio on the planet decides to move their fourth-quarter movies into next year,” Sanders mused. “Suddenly, the last contenders for awards are ‘Barbie’ and ‘Oppenheimer.’ Then what happens?” More

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      In Hollywood Strike, Actors and Studios Are ‘Far Apart’ on Key Issues

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      The actors’ union and the organization that bargains on behalf of the studios traded statements underscoring how much work needs to be done to reach an agreement.As tens of thousands of actors go into their fifth day of a strike versus the Hollywood studios, the two sides have shown no signs of returning to the bargaining table — and are even exchanging barbed messages that underscore how far apart they are.Late Monday, leadership of SAG-AFTRA, the actors’ union, sent members a 12-page memo laying out its demands and the studios’ counterproposals. They “remain far apart on the most critical issues that affect the very survival of our profession,” the note said.“We marched ahead because they intentionally dragged their feet,” it continued.The Alliance of Motion Picture and Television Producers, the organization that bargains on behalf of the studios, answered with a note to the news media arguing that the message from the union “deliberately distorts” the offers it had made.“A strike is not the outcome we wanted,” the alliance said. “For SAG-AFTRA to assert that we have not been responsive to the needs of its membership is disingenuous at best.”Thousands of Hollywood actors went on strike on Friday after failing to reach a new contract with the major studios, including old-line companies like Paramount, Universal and Disney and tech giants like Netflix, Amazon and Apple.The actors joined 11,500 screenwriters who went on strike 78 days ago, the first time both unions had walked out at the same time since 1960. The writers have not returned to the bargaining table with the studios since their negotiations collapsed in early May.SAG-AFTRA’s note said the two sides remained far apart on several key issues, including compensation, guardrails against artificial intelligence, and health care and pension costs.The union’s leadership said it had asked for 11 percent wage increases in the first year of a new contract; the studios came back with an offer of 5 percent, the union said.When it comes to artificial intelligence, the union’s leaders said they had argued for a number of provisions to protect them “when a ‘digital replica’ is made or our performance is changed using A.I.”They said the studio alliance “failed to address many vital concerns, leaving principal performers and background actors vulnerable to having most of their work replaced by digital replicas.”The studios said that the union’s note to its members “fails to include the proposals offered verbally” during negotiations, and that its overall package was worth more than $1 billion in wage increases, improvements on residuals (a type of royalty) and health care contributions.Regarding artificial intelligence, the studios said they had offered a “groundbreaking proposal, which protects performers’ digital likenesses, including a requirement for performer’s consent for the creation and use of digital replicas or for digital alterations of a performance.”Union leadership sent out a chart laying out each proposal and the studios’ response. Over more than two dozen proposals, the studio response amounted to one word, according to the union: “Rejected.”“So who’s making the T-Shirt that says ‘Rejected’?” the actress Senta Moses posted on Twitter.“This is why we’re on strike,” the union note said. “The A.M.P.T.P. thinks we will relent, but the will of our membership has never been stronger. We have the resolve and unity needed to defend our rights.” More