Television writer Deirdre Mangan started the trend Tuesday afternoon with her own story.
Two weeks after The Hollywood Reporter revealed that Crazy Rich Asians’s Adele Lim had left the franchise amid a sizable pay disparity with her co-screenwriter, scribes are taking to social media to reveal their own experiences with the pay gap.
Deirdre Mangan was the first to use the hashtag #NotWorthLess to share her story. «Much respect to Adele Lim for walking away from CRA. That’s a heartbreaking decision to make,» she wrote Tuesday afternoon. «The rampant pay inequality in the entertainment industry is archaic. Writers who are not able-bodied white men are #NotWorthLess.»
Mangan wrote that for two series at two different studios for which she was hired as co-producer (she did not name them but she most recently served as co-producer on both Universal TV’s Midnight, Texas and ABC Studios’ The Crossing), she was told both times that «budget limitations» precluded the studios from paying her more. She later found that a male colleague at the same level on a show with a similar budget at the same studio earned $1,500 more than her per episode. She asked him how he managed to negotiate successfully and he replied, «Must’ve been my agent. He doesn’t really talk to me, I just get emails from his assistant.»
Veteran writer Terri Kopp, who created BET’s In Contempt and currently serves as co-EP on Showtime’s The Chi, reported that the first time she ran a show, she discovered that she was making less than her male co-EP. Fellow upper-level writer Patti Carr detailed her negotiations with CBS Studios, for which she’d executive produced or co-EP’ed four CW series, when it approached her in 2018 to co-EP NCIS: New Orleans. She countered «the usual low-ball opening number» with an equivalent to her previous CBS Studios fee, plus a 3 percent annual increase. After the studio’s final offer came in 25 percent under that counter, she walked. Carr wrote that CBS Studios then hired a white male writer, who had fewer credits amd years of experience, as an executive producer and paid him more than Carr had even asked for. Eight months later, he was fired after HR complaints. (Carr didn’t name the writer, but her description fits the profile of Adam Targum, NCIS: New Orleans’ second-in-command, who was let go in January after complaints of «bullying» behavior in the writers room and on set.)
Haven Entertainment manager Garrett Greer has seen the discrepancy at work as a rep. The lowest development deal he ever closed was with a female client who was offered executive story editor credit for a show she created. «Business affairs said she didn’t have enough experience to merit our counter. The female head of drama development told me that in her view, ‘writers need to earn their credits,'» he wrote, adding that he later learned that two years prior, «a straight white man with literally no experience who set a project up with the same producers and studio was granted EP credit and a robust fee.»
«The #NotWorthLess tweets are disappointing and not at all surprising,» wrote veteran comedy writer Travon Free, whose credits include The Daily Show, Full Frontal with Samantha Bee and Black Monday, «especially seeing how on a show I worked on I know of white male writers with years less experience getting bumped up to my pay level in half the time while I got no raise the same year.»
Crazy Ex-Girlfriend co-EP Audrey Wauchope wrote that she always asks about numbers and has found that in her ten-year career, she and writing partner Rachel Specter have always been paid less than male colleagues at the same level. «Oh, and there are two of us – two for the price of 0.75,» she added, uploading an excerpt from one email to their agents: «We never realized until this week that everyone else at our level makes 1 to 4k more than us an episode… Is there no wiggle room to negotiate more than scale since there are two of us? It just feels like we’re really being taken advantage of.»
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Me declaro en huelga de entrevistas, dice AMLO en Tijuana
En medio de una jornada particularmente llena de imprevistos, el presidente Andrés Manuel López Obrador llegó al aeropuerto de Tijuana de donde partiría rumbo a San Quintín para visitar el Hospital Rural del lugar.
Durante su visita a El Fuerte, Sinaloa, dijo que tiene una agenda muy apretada y no quiere que lo deje el avión.
Durante su recorrido en Sinaloa el mandatario se ha encontrado con una mayor presencia de gente que acudió a su encuentro para exponerle sus problemas y pedir su atención.
La rutina del presidente de detenerse a escuchar el sentir de la gente ha provocado que sus actividades se retrasen hasta cerca de 40 minutos, como en la misma comunidad de El Fuerte, donde todos fueron citados para participar desde la 9:30 horas.
El presidente tuvo que detenerse más de 10 ocasiones, por lo que llegó hasta las 10:20 horas para ofrecer disculpa por su retraso en lo que la gente no dejaba de ovacionarlo.
Luego el presidente estuvo a punto de perder el avión, a pesar de que éste también llevaba un retraso de 25 minutos, por lo que al ser recibido por los medios que lo esperaban, en tono de broma, comentó: “me declaro en huelga de entrevistas”.
Empero, durante su trayecto al avión compartió breves comentarios ante la prensa al explicar que una de las prioridades que esperaba atender en San Quintín es la situación de los migrantes.
Del aeropuerto de Tijuana a San Quintín el trayecto del mandatario sería de cuatro horas por carretera y otras cuatro de regreso a Tijuana, al terminar su encuentro, con lo que terminaría su recorrido este fin de semana por Sinaloa y Baja California.
A partir de la próxima semana el presidente agendaría la visita a los últimos tres Hospitales Rurales del IMSS Solidaridad, con lo que terminaría con el compromiso de visitar las 80 unidades para iniciar con la siguiente etapa de acercar los servicios de salud a toda la población.
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Joker’s lukewarm take on politics places chair of billionaire-philanthropist
There’s an emotional cost for Arthur, learning the one stable parent he’s hoped for not only didn’t want him, but was also just as cruel as strangers in the street. If Joker is an homage to The King of Comedy — the 1983 Martin Scorsese movie about an aspiring standup obsessed with a late night host — then an analysis of celebrity is demanded in the film. But, the analysis ends at “rich, famous guy is an asshole.” Thomas believes Arthur to be dangerous, which isn’t an inaccurate conclusion to arrive at. Thomas’ political stances, and how he uses his power doesn’t get enough screen time. He might be against worker’s rights, given a non-specific comment on the garbage strike. Thomas Wayne may not be likeable, but he’s certainly no villain.
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Martin Scorsese on price of Not Knowing Director’s Identity Before Seeing Their Films
At the New York Film Festival, the Oscar winner talked about filmmakers he admires, the «danger of a demagogue taking over America» and the exit of the fest’s outgoing director Kent Jones.
Martin Scorsese on Saturday revealed why he doesn’t like to know a director’s identity before watching their work and more about his love of film before giving New York Film Festival director and collaborator Kent Jones a sentimental sendoff during a packed panel discussion at the event.
Held at the Lincoln Center’s Alice Tully Hall and hosted less than a day after the high-profile premiere of his latest film, The Irishman, Scorsese took a few minutes during the nearly hourlong event to touch on his experience viewing Joanna Hogg’s directorial debut Archipelago. While elaborating on his admiration for Hogg’s use of landscape, the Wolf of Wall Street and Taxi Driver helmer digressed to explain why he values viewing the art before the artist. «She’s amazing, Hogg,» Scorsese told Jones. «I just didn’t know her. I didn’t realize who made the picture. I had no idea if it was a man, woman, whatever. And it’s so great you can see films that way and not know who did it, and then find out. So you can look at it as art in and of itself, for itself.»
Hogg was just one among several filmmkaers whose work the Oscar winner praised during the event, which saw Scorsese and Jones analyzing various cinematic elements, styles and devices of a handful of notable films. While time constraints meant selected scenes from the 2016 Romanian film Sieranevada and the 1965 Nazi-occupation drama …and the Fifth Horseman Is Fear weren’t shown, the two did dissect scenes from Ari Aster’s horror hit Hereditary and the 1954 Hugo Haas-directed Bait alongside Scorsese’s discussion about Archipelago.
NY Film Festival: Scorsese Praises Netflix for Backing «Costly Experiment» of ‘The Irishman’
Scorsese lauded Haas for his ability to craft films that were more pure and inventive despite — or rather, in light of — a smaller budget, while the performances in Hereditary earned compliments of «dynamic» and «astounding.» The Irishman director was also particularly fond of Aster’s ability to create what he saw as a family-driven narrative that doubled as horror and drama.
«It’s horror, but it’s more than that,» Scorsese said of Aster’s feature-length directorial debut. «For me, when you take the horror out, it still works. But the horror elements, how should I say this — they shock you in a good way. They shock you into an awakening of the real pain of these people.»
Beyond the chance to hear Scorsese commend directors living and deceased, the event ultimately offered a relaxed but intimate look at how he approaches and values producing and consuming cinema. With a succinct frankness, Scorsese declared that when it comes to moviemaking, «what it really takes is desire and obsession.» As for how you define a good or bad movie, what may not be «a good film» may still be good art, and who decides either matters.
«For a film ‘that works’ or ‘doesn’t work,’ I mean — for who?» Scorsese said.Amid the panel’s more intensive discussion, there were a few moments of hearty laughter. That included an aside about Bait star Cleo Moore’s six-week marriage to former Louisiana Gov. Huey P. Long’s son, which became a reference to both All the King’s Men and a more subtle jab at Donald Trump. (All the King’s Men is a Pulitzer Prize-winning novel by Robert Penn Warren based on Long that was adapted for the big screen first in 1949 and again in 2006.)
«It’s [a film] about the danger of a demagogue, uh… taking over America,» Scorsese said of Robert Rossen’s 1949 version, while pointedly looking at the audience. «It’s very important for understanding fascism and totalitarianism and authoritarianism and very important in terms of the psyche of the country at the time.»
For all its deep-diving on directorial work, the hourlong panel focused very little on Scorsese’s latest film and first for Netflix, The Irishman, a three-and-a-half-hour drama chronicling the life of mob hitman Frank Sheeran (played by Robert De Niro) and his role in labor leader and longtime friend Jimmy Hoffa’s (Al Pacino) disappearance.
While attendees may not have gotten any direct insight into his creative approach on The Irishman, Scorsese did take the time to share what he loved about Jones’ approach as the New York Film Festival’s director following news that Jones would be stepping down from the role at the end of this year’s event.
«In 1963, when this thing first started, I couldn’t afford the tickets, but it was the most remarkable thing to happen in New York,» Scorsese said. «But there’s something about the excitement of those first years that I only felt again when you took the reins here. … It’s a real love of cinema, and it was expressed to me under your guidance during this time.»