Latest news with #DeadlineEditorsGuild
Yahoo
10-06-2025
- Entertainment
- Yahoo
SAG-AFTRA Inks Tentative New Deal With Major Video Game Developers That Includes 'Necessary A.I. Guardrails'
After more than 10 months on strike, SAG-AFTRA has reached a tentative deal with the major video game companies. Specific terms of the new Interactive Media Agreement, which the union announced late Monday night, were not immediately available. More from Deadline Editors Guild Protests Against Nonfiction Producer Story Syndicate At Tribeca Premiere Of OceanGate Submersible Documentary 'Titan' Disney Layoffs Hit TV Development & Casting Executive Ranks SAG-AFTRA Launches The Producer Portal To Streamline Signatory Process Despite the announcement, the union also made clear that members are not back to work quite yet. SAG-AFTRA says it expects to finalize a strike suspension agreement with the employers 'soon,' but the work stoppage continues until then. Now, the National Board will consider the deal before it is put to a ratification vote with the membership. 'Everyone at SAG-AFTRA is immensely grateful for the sacrifices made by video game performers and the dedication of the Interactive Media Agreement Negotiating Committee throughout these many months of the video game strike,' SAG-AFTRA National Executive Director & Chief Negotiator Duncan Crabtree-Ireland said in a statement. 'Patience and persistence has resulted in a deal that puts in place the necessary A.I. guardrails that defend performers' livelihoods in the A.I. age, alongside other important gains. Thank you, Interactive Media Agreement Negotiating Chair Sarah Elmaleh and Chief Contracts Officer Ray Rodriguez for your hard work and advocacy in pursuit of this contract.' SAG-AFTRA went on strike against the signatories of the Interactive Media Agreement in July 2024. The sides had bargained on and off for more than a year by then, operating without a contract since November 2022. Artificial intelligence was the big sticking point in these negotiations. The contract covers voice and performance-capture talent on video games, and the union has repeatedly sounded the alarm on how AI could negatively impact these professions. SAG-AFTRA President Fran Drescher said: 'Our video game performers stood strong against the biggest employers in one of the world's most lucrative industries. Their incredible courage and persistence, combined with the tireless work of our negotiating committee, has at last secured a deal. The needle has been moved forward and we are much better off than before. As soon as this is ratified we roll up our sleeves and begin to plan the next negotiation. Every contract is a work in progress and progress is the name of the game.' The gamer companies involved in this contract are Activision Productions, Blindlight, Disney Character Voices, Electronic Arts Productions, Formosa Interactive, Insomniac Games, Llama Productions, Take 2 Productions and WB Games. Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds A Full Timeline Of Blake Lively & Justin Baldoni's 'It Ends With Us' Feud In Court, Online & In The Media Where To Watch All The 'John Wick' Movies: Streamers That Have All Four Films
Yahoo
07-06-2025
- Entertainment
- Yahoo
‘Dragonfly' Review: Andrea Riseborough And Brenda Blethyn Give Wings To Paul Andrew Williams' Poignant Neighborhood Drama
Paul Andrew Williams's feature debut was called London to Brighton (2006), but the British director has never been much interested in capital cities. His latest, Dragonfly, is another example of this, being a dark, low-key drama about the ways in which the unnoticed lives of suburban people can make surprising headlines. In a direct way, it's a sister piece to his provocative 2010 home invasion film Cherry Tree Lane, in which—pre-empting Adolescence—a middle-class couple's humdrum live is turned upside down when they are inexplicably attacked by violent teenage rebels without any apparent cause. In reality, though—and despite the blood spilt both onscreen and off—it turns out to be more like the film Williams made in 2012. Called Song for Marion, it starred Terence Stamp as an emotionally shut-down widower who joins a choir to pay homage to his late wife (Vanessa Redgrave). It wasn't a commercial success, and Dragonfly may not be either, but the new film makes better use of that film's ingredients: themes of loneliness, regret, bereavement, self-worth and family. And like Song for Marion, it has quite the cast: two Oscar nominees playing just outside their age range and beyond their comfort zones. More from Deadline Editors Guild Protests Against Nonfiction Producer Story Syndicate At Tribeca Premiere Of OceanGate Submersible Documentary 'Titan' As Tribeca Kicks Off, Toppers Weigh In On Their Growing Festival & Standing Up To Donald Trump Banijay Appoints Factual Drama Chief There's little to no vanity here in the central pairing of Brenda Blethyn, as the elderly widow Elsie, and Andrea Riseborough, as her unemployed neighbor Colleen, and the two very different actors' styles work perfectly together. The film's opening ten minutes sets up the two women's lives with a poignant economy: living in back-to-back bungalows, they lead eerily similar lives, like ghosts. Elsie had a life once and misses it bitterly now, but Colleen never had a life at all. 'So weird,' says Colleen, quite intuitively, when she first visits Elsie's home. 'It's exactly like mine, just the other way round.' Colleen has lived next door to Elsie for some 13 years before the story starts, and it's not quite immediately clear why she should suddenly pop round to offer her services—does Elsie want anything from the shop? But Colleen has been watching the procession of carers that visit Elsie from day to day, and she sees a woman who deserves more than the clock-watching agency nurses who come to give her showers she doesn't need and food that isn't doing her any good at all. There is, as they say, a gap in the market, and Colleen moves fast to fill it, something Elsie appreciates and which helps the once dowdy woman blossom. Compared even to the slow-burn of Williams' last film Bull (2021), the film takes baby steps to reveal itself as a genre film, but the score by Raffertie is ahead of the action at every turn. Nothing will ever really be revealed or explained by the end, but Williams' script sets up so many fascinating ways in which these two very different women — the relatively posh Elsie and the definitely struggling-class Colleen — strike a chord. And key to that is the introduction of Elsie's son John (Jason Watkins). Middle-aged and yet still pathetically upwardly mobile, John is the harbinger here, and his nasty bourgeois values, coming between Elsie and Colleen, turn out to the be the meat in the sandwich. Instead of Chekhov's gun in this scenario we have a dog, and Colleen's inability to control her 'mentalist' crossbreed Sabre does not go well for either of them, leading to a very violent denouement. But Williams' film is not so much concerned with the tension of getting to that and more about the understanding; Andrea Riseborough is just so good at this, bringing the A-game she brought to 2022's To Leslie, but this time with a more jarring child-like innocence, reflected in her pasty, wan complexion. The same goes for Brenda Blethyn, so effortlessly affecting as a wife and mother reduced to becoming a client to the welfare state, a degradation that Colleen just can't begin to tolerate. Williams' films often end with a question mark, and that doesn't always satisfy. With Dragonfly, however, the questions posed are moral and timely, and they will hang around in your head long after as you think about women like Colleen and Elsie and the things in their lives that are missing. It's a mother of a story. Title: DragonflyFestival: Tribeca (International Narrative Competition)Director/screenwriter: Paul Andrew WilliamsCast: Andrea Riseborough, Brenda Blethyn, Jason WatkinsUS Sales: AMP InternationalRunning time: 1 hr 38 mins Best of Deadline Broadway's 2024-2025 Season: All Of Deadline's Reviews Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More
Yahoo
07-06-2025
- Entertainment
- Yahoo
‘Dragonfly' Review: Andrea Riseborough And Brenda Blethyn Give Wings To Paul Andrew Williams' Poignant Neighborhood Drama
Paul Andrew Williams's feature debut was called London to Brighton (2006), but the British director has never been much interested in capital cities. His latest, Dragonfly, is another example of this, being a dark, low-key drama about the ways in which the unnoticed lives of suburban people can make surprising headlines. In a direct way, it's a sister piece to his provocative 2010 home invasion film Cherry Tree Lane, in which—pre-empting Adolescence—a middle-class couple's humdrum live is turned upside down when they are inexplicably attacked by violent teenage rebels without any apparent cause. In reality, though—and despite the blood spilt both onscreen and off—it turns out to be more like the film Williams made in 2012. Called Song for Marion, it starred Terence Stamp as an emotionally shut-down widower who joins a choir to pay homage to his late wife (Vanessa Redgrave). It wasn't a commercial success, and Dragonfly may not be either, but the new film makes better use of that film's ingredients: themes of loneliness, regret, bereavement, self-worth and family. And like Song for Marion, it has quite the cast: two Oscar nominees playing just outside their age range and beyond their comfort zones. More from Deadline Editors Guild Protests Against Nonfiction Producer Story Syndicate At Tribeca Premiere Of OceanGate Submersible Documentary 'Titan' As Tribeca Kicks Off, Toppers Weigh In On Their Growing Festival & Standing Up To Donald Trump Banijay Appoints Factual Drama Chief There's little to no vanity here in the central pairing of Brenda Blethyn, as the elderly widow Elsie, and Andrea Riseborough, as her unemployed neighbor Colleen, and the two very different actors' styles work perfectly together. The film's opening ten minutes sets up the two women's lives with a poignant economy: living in back-to-back bungalows, they lead eerily similar lives, like ghosts. Elsie had a life once and misses it bitterly now, but Colleen never had a life at all. 'So weird,' says Colleen, quite intuitively, when she first visits Elsie's home. 'It's exactly like mine, just the other way round.' Colleen has lived next door to Elsie for some 13 years before the story starts, and it's not quite immediately clear why she should suddenly pop round to offer her services—does Elsie want anything from the shop? But Colleen has been watching the procession of carers that visit Elsie from day to day, and she sees a woman who deserves more than the clock-watching agency nurses who come to give her showers she doesn't need and food that isn't doing her any good at all. There is, as they say, a gap in the market, and Colleen moves fast to fill it, something Elsie appreciates and which helps the once dowdy woman blossom. Compared even to the slow-burn of Williams' last film Bull (2021), the film takes baby steps to reveal itself as a genre film, but the score by Raffertie is ahead of the action at every turn. Nothing will ever really be revealed or explained by the end, but Williams' script sets up so many fascinating ways in which these two very different women — the relatively posh Elsie and the definitely struggling-class Colleen — strike a chord. And key to that is the introduction of Elsie's son John (Jason Watkins). Middle-aged and yet still pathetically upwardly mobile, John is the harbinger here, and his nasty bourgeois values, coming between Elsie and Colleen, turn out to the be the meat in the sandwich. Instead of Chekhov's gun in this scenario we have a dog, and Colleen's inability to control her 'mentalist' crossbreed Sabre does not go well for either of them, leading to a very violent denouement. But Williams' film is not so much concerned with the tension of getting to that and more about the understanding; Andrea Riseborough is just so good at this, bringing the A-game she brought to 2022's To Leslie, but this time with a more jarring child-like innocence, reflected in her pasty, wan complexion. The same goes for Brenda Blethyn, so effortlessly affecting as a wife and mother reduced to becoming a client to the welfare state, a degradation that Colleen just can't begin to tolerate. Williams' films often end with a question mark, and that doesn't always satisfy. With Dragonfly, however, the questions posed are moral and timely, and they will hang around in your head long after as you think about women like Colleen and Elsie and the things in their lives that are missing. It's a mother of a story. Title: DragonflyFestival: Tribeca (International Narrative Competition)Director/screenwriter: Paul Andrew WilliamsCast: Andrea Riseborough, Brenda Blethyn, Jason WatkinsUS Sales: AMP InternationalRunning time: 1 hr 38 mins Best of Deadline Broadway's 2024-2025 Season: All Of Deadline's Reviews Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More
