Nikola Jokic knows how great Mike Conley is. If Timberwolves win a title, everyone else finally will, too.

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Three-time MVP Nikola Jokic sat at his press conference after the Denver Nuggets was bounced from the NBA playoffs in Game 7 of the Western Conference semifinals by Minnesota and listed off the many forces on the Timberwolves’ roster.

Multiple all-stars, multiple all-defense players, the Sixth Man of the Year.

But Jokic only expounded his thoughts on one player: veteran point guard Mike Conley.

“He’s the most underrated player in the NBA, probably,” Jokic said. “I love the guy. He is so good.”

Jokic noted Conley “always makes the right play,” and added that he noticed at one point in Game 7, Conley was the Timberwolves’ leading rebounder.

Whatever it takes to win. That has been Conley’s calling card throughout his career.

The 36-year-old will make any sacrifice to win at a high level, and has not hidden his desire to finally claim an NBA championship — the one box left to check on his lengthy resume.

Just in these playoffs alone, the point guard is knocking out firsts — he completed his first playoff sweep in Round 1. In the conference semis, he notched his first Game 7 victory.

Asked what’s next, Conley said simply to “win a game in the conference finals.”

Indeed, he made one previous trip to this stage — in 2013 with Memphis. The Grizzlies were swept by the San Antonio Spurs.

That was 11 years ago.

It’s stunning a guard who plays such a winning brand of basketball could have been denied such a stage for more than a decade. There have been numerous close calls derailed by injuries or juggernauts.

“We always, my teams have always kinda ran into that wall in the first, second round,” Conley said. “We’d end up playing against Jokic or the Spurs or somebody, and they’d knock us out. We were just never able to get over that hump.”

So, Conley was never able to take center stage. Outside of playoff success, the NBA limelight is often reserved for the teams in big cities. Everyone watches the Lakers and Knicks countless times every season.

Conley has played in Memphis, Utah and Minnesota, not exactly major markets. The other way to gain notoriety, though, is through playoff performance. The further you advance, the more attention you get. At some point, when there are only so many teams still in the fight, there is only one direction to aim the spotlight.

Perhaps the lack of postseason success is why Conley has gone overlooked for so long. As nice as Jokic’s comments were, “most underrated player” isn’t a title you exactly want to carry. It’s more preferred to be given the respect and celebration you deserve.

But over the next week-plus, as the Western Conference finals — which begin Wednesday evening in Minneapolis — play out, Conley’s impact and abilities will be undeniable. There will be no overlooking Minnesota’s stabilizer, who both conducts the show and often prevents the Timberwolves from short-circuiting.

His playmaking, quick defensive hands and knack for knocking down big shots will all be made under the nation’s watchful eye as Minnesota-Dallas serves as the only show in town on a nightly basis.

It’s likely that Conley plays a major role in multiple Wolves’ victories in this series. If he does, Charles Barkley will likely point it out. And, when Chuck speaks, the nation listens.

On top of being the very best, Jokic may be the most cerebral player in the NBA. If he says you’re a great player, then you are, even if others fail to recognize as much.

You want respect for your greatness? Win at the highest level. Sometimes, that’s the only solution.

Conley’s lone all-star appearance to date came in the 2020-21 season when his Utah team finished as the No. 1 seed in the West.

Winning truly is the ultimate cure.

Frankly, Rudy Gobert doesn’t think Conley ever will get his proper due.

“But I think a championship would definitely put some respect on his name a little more, and when you win, there’s nothing people can say at the end of the day,” Gobert said. “I know how bad he wants to win, and I know how much he means to this team, to this group, so I just want it really bad for him too. He’s 36 now, so he’s the one that’s probably the most aware of how precious these moments are and these opportunities are, and he’s showing it every day in practice and on the court.”

Make no mistake, Conley’s motivation at the moment is a championship. But something else he’s never quite had — the acknowledgement of just how good he truly has been over his career, and still is today — would be a likely byproduct of his primary pursuit.

“Postseason success is so big for people and their view of how you are as a player, if you’re a winner or not,” Conley said. “I’ve always tried to play winning basketball, but this year I’m trying to also do that, and actually win at the same time.”

Seventeen years in, there’s still time to check boxes, and potentially rewrite the narrative.

“It’s not too late,” Conley said as he exited his media availability Tuesday. “It’s not too late.”

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Contract Deal Poised to End Months-Long Legal Worker Strike

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Over 100 unionized workers at Mobilization for Justice could return to work as soon as Wednesday morning, members said. 

Adi Talwar

Brian Sullivan, senior staff attorney in MFJ’s Housing Project, picketing with his colleagues outside MFJ’s Manhattan Office in February.

Over 100 attorneys, paralegals and support staff with the nonprofit legal services provider Mobilization for Justice (MFJ) are expected to return to work as soon as Wednesday, ending a 13-week strike that secured wins including a $60,000 salary floor for non-lawyers. 

A majority of participating union members, 72 percent, voted Monday to ratify management’s latest offer, the union, Legal Services Staff Association Local 2320, said Tuesday.

MFJ’s board of directors will vote on ratification this evening, Chief Development Officer Eric Alterman told City Limits by email, calling the agreement “not quite official yet.” He did not comment on the deal as a whole. 

In a statement accompanying the union’s announcement, paralegal and bargaining team member Ella Abeo said workers presented contract demands back in November “aiming to promote racial and economic justice by lifting wages, sustaining healthcare, and improving workplace equity.” 

She went on to criticize MFJ for responding with “antagonistic” counter-offers. 

“Management pushed us, but we pushed back harder,” Abeo added. “This strike shows that when workers unite, we will win.” 

Contours of the contract deal are laid out in a press release on MFJ’s website, published Friday and described then as a memorandum of understanding. 

In addition to a $60,000 floor for paralegals and support staff—up from $51,000 and $53,000 respectively—the deal includes salary bumps for early-career lawyers and cost-of-living adjustments of at least 4 percent in the first year, 3 percent in the second year and 3 percent in the third (up from 2 percent annually in an earlier offer). 

The agreement also includes a two-day-per-week remote work allowance, according to MFJ’s release, and a one-time bonus of $2,350.  

“Since December 2023, MFJ has been actively engaged in good faith negotiations with the LSSA Bargaining Team to reach a fair contract for all staff, focusing on our lowest paid workers, a stated union priority,” the organization wrote Friday.  

According to the union, MFJ has also agreed to offer full-time jobs to two temporary workers, including one who was fired after filing a labor grievance seeking such status. Workers previously identified this as a key demand to end the strike. 

Union members walked off the job in February, after 93 percent of voting members opted to reject a contract offer they said fell short of their demands, including fair compensation for their lowest-paid colleagues. 

At the time, the organization had 42 staff attorneys in its housing practice, helping low-income tenants fight eviction. A smaller number of non-union supervisors and directors have been representing tenants in housing court during the strike. 

In addition to housing, MFJ workers specialize in foreclosure, bankruptcy, immigration, government benefits and disability rights.

Last week, Comptroller Brad Lander sent a letter to Department of Social Services Commissioner Molly Park, seeking data to explore how the prolonged strike impacted tenants’ quality of representation in housing court. MFJ participates in the city’s Right to Counsel program, which provides free lawyers to low-income tenants. 

The strikers also garnered support from City Council members, including Bronx Councilmember Carmen De La Rosa, who chairs the Committee on Civil Service and Labor. De La Rosa and some of her colleagues said last week that they would encourage an MFJ contracting freeze if the strike did not end by May 22. 

Workers’ impending return to work means that their strike will not beat a 15-week industry record in the city, set in 1991

Tara Joy, a housing intake specialist at MFJ, addressed management at a picket-line rally in Manhattan on May 15, referencing broader support the union garnered during the strike. 

“It’s not just our eyes, it’s the eyes of the city on them,” she said. 

To reach the reporter behind this story, contact Emma@citylimits.org. To reach the editor, contact Jeanmarie@citylimits.org

Want to republish this story? Find City Limits’ reprint policy here.

Montreal Jazz Festival a treat for music fans of multiple genres — and a bargain, with 150-plus free concerts

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George Varga and Beth Wood | The San Diego Union-Tribune

Parlez-vous free jazz?

In almost any other French-language city in the world, this inquiry would translate as: “Do you speak cutting-edge jazz?” But at Canada’s 44-year-old Festival International de Jazz de Montreal— better known as the Montreal Jazz Festival — the question is deceptive in several ways.

A majority of the performances at this 10-day summer music marathon in the French-speaking province of Quebec’s largest city are completely free of charge. And while the 2024 lineup will feature such jazz favorites as pianist Jason Moran and saxophonists Joshua Redman, Chris Potter and Melissa Aldana, it will also showcase a broad array of other styles.

This year’s roster includes everyone from synth-pop group Future Islands, San Diego neo-soul band Thee Sacred Souls and the proudly arch country singer Orville Peck to blues veteran Cedric Burnside, eclectic songstress Norah Jones and such hip-hop favorites as Andre 3000, Killer Mike and Freddie Gibbs.

Better yet, more than two-thirds of the 225-plus concerts at this year’s edition — which runs June 27 through July 6 — are free. Performances are held on six outdoor stages and at 10 indoor venues, which range from intimate nightclubs to historic theaters and the concert home of the Montreal Symphony.

The festival’s eight hours of daily live-music offerings begin at 5 p.m. each day. That gives festivalgoers ample time during the day to explore this 382-year-old island city, which offers the foreign and the familiar in almost equal measure.

“Montreal is wonderful and very cosmopolitan,” said San Diego Symphony Music Director Rafael Payare, who is also the music director of the Montreal Symphony. “When you are here, you feel like one part of you is in North America and the other part of you is in Europe.”

True to Payare’s words, you don’t have to stroll far from the jazz festival’s footprint in the downtown area known as Quartier des Spectacles to appreciate this pleasant sense of continent-leaping duality.

On the two-mile walk from the beautiful midcentury Place des Arts — where the festival’s biggest indoor and outdoor concerts are held — to Old Port Montreal, the pavement gives way to cobblestone streets and high rises give way to well-preserved buildings from bygone centuries.

“Montreal is a great walking city and many of the festival’s indoor concerts take place in historic venues,” said Vermont jazz radio DJ and Realtor David Beckett, a longtime attendee of the festival.

“Le Gesù, which has been a theater for live performances since 1992, is in a Catholic church that opened in 1865. École nationale de théâtre du Canada, also known as National Monument, opened in 1893 and is the oldest theater in Quebec. Edith Piaf once sang there! Simply by going to concerts in these venues where the festival is held, you get to experience some of Montreal’s most memorable arts venues.”

A turn at almost any corner is likely to lead to a welcome new discovery, be it a 21-story-tall, 10,000-square-foot mural of Montreal native Leonard Cohen — modeled after a photo taken by his daughter, Lorca — or a French-Chinese restaurant with the quaint name Fondue de Pékin.

Adding to the European flavor, French is the official language in Quebec, the province that counts Montreal as its biggest city. Our French is limited to about a dozen words, but almost everyone we encountered in Montreal spoke English. The menus in nearly every restaurant we ate at were in both French and English.

‘Plexes,’ bagels and poutine

Some of the city’s signature hallmarks aren’t necessarily European or Canadian, but unique to Montreal. Its iconic wrought-iron staircases grace many apartment buildings (which are called “plexes”).

There are more than 30,000 of them around the city and they vary in shape and size — straight, spiral, L-shaped and a variety of other configurations. While the prospect of navigating some of these staircases during Montreal’s icy winters is alarming to visitors, they are a sight to behold in the summer.

Another classic trademark of the city is poutine — French fries topped with fresh cheese curds, covered in thick, brown gravy. Generally considered a Canadian dish, it originated in rural Quebec in the mid-1900s and arrived in Montreal about a decade later. Poutine is available in many restaurants in Montreal, from diners to high-end eateries. Most boast their own versions, including with smoked meat, dumplings, popcorn, pulled pork and more.

Montreal is also proud of its bagels, with the competing St-Viateur and Fairmount shops ranking as favorites for locals and visitors alike. Montreal bagels stand out because they’re boiled in honey and water, then baked in wood-fired ovens, for a sweeter taste and crunchier texture. The St-Viateur bagel shop is open 24 hours a day, 7 days a week. It serves over 12,000 bagels a day.

“There’s always a heated competition between New York and Montreal about who has the best bagels,” noted Payare, who is no stranger to either city. “I would say it’s Montreal.”

From William Shatner to Samantha Bee

During the summer, swaths of streets in several neighborhoods become car-free “pedestrianized zones,” including through the festival’s center in Quartier des Spectacles.

Adding to pedestrian options is the almost 20-mile network of underground passageways, which are open year-round but were built to help residents escape — at least temporarily — the brutal winter cold. The passageways are filled with shops, restaurants and some eye-popping artwork.

On our first day in Montreal late last June, we wandered around the lovely campus of McGill University. Located about two miles from the festival site, the campus is on the lower part of Mont Royal, from which the English name Montreal originates. Mont Royal is home to a verdant, 692-acre park designed by Frederick Law, whose best-known credit is New York City’s Central Park.

While briefly tagging along with a student tour group, we learned that some of McGill’s most well-known alumni include Leonard Cohen, Burt Bacharach, Canadian Prime Minister Justin Trudeau, William Shatner, architect Moshe Safdie and comedian Samantha Bee.

McGill’s 80-plus buildings sit on 80 acres overlooking downtown Montreal and the St. Lawrence River. Its classical revival-style Arts Building, completed in 1843, is the oldest on campus. In summer, the school’s front lawn area is brimming with colorful flowers, and greenery fills much of the pedestrian/cyclist-friendly campus.

The next day, we walked down Rue de Bleury from the festival site through Old Montreal to the Old Port, which stretches more than a mile along the St. Lawrence River. It’s ideal for pedestrians and bicyclists, and you can also rent pedal-boats, try a zipline or embark on various river cruises.

Between the river and the nearby historic clock tower — a replica of Big Ben — is a beach with sand, parasols and room for 800 people. Also at the Old Port is an almost 200-foot-high Grande Roue de Montreal Ferris wheel, which — thanks to its temperature-controlled cabins — is open year-round. It provides spectacular views of Montreal.

The Montreal Jazz Festival offers free music on six outdoor stages in the center of the city. All are within easy walking distance of each other and in close proximity to the event’s 10 indoor venues. (Montreal Jazz Festival/TNS)

While we walked between 11,000 and 19,000 steps a day during our visit, we were glad we bought a one-week Metro pass. Priced at $22 per person — credit cards only, cash not accepted — it gave us unlimited rides on all four subway lines. Passes in hand, we rode to multiple destinations miles from downtown, then walked at our leisure.

One day, we visited the Montreal borough of Verdun. It’s home to the Promenade Wellington, a pedestrian promenade that stretches 11 blocks and boasts more than 250 hipster-friendly businesses, including an array of bars, dining spots, cafes, ice cream parlors and more. Voted “the coolest street in the world” by TimeOut magazine in 2022, Promenade Wellington is packed on Saturdays and Sundays, so come on a weekday if you want to avoid crowds.

The next day we took a different subway line to Montreal Botanical Garden, which covers more than 185 acres and boasts 10 greenhouses open to the public. Located adjacent to Olympic Village and Montreal’s Biodome, Biosphere and Planetarium, it also has an herbarium and an insectarium. Highlights include Chinese, Japanese and First Nations gardens, as well as a rock garden arranged by geographic regions. All-day tickets cost $23.25 for adults and $12 for children ages 5 to 17.

On another day, we took the subway to the last Metro station on the green line to Parc Angrignon, which was recommended to us by a local journalist for its beauty, lack of tourists and free admission. A lush oasis of quiet in the midst of a metropolis, the 240-acre park includes ponds, picnic tables, multiple bike and walking paths, and playgrounds. We also stumbled upon a hidden tipi in a dense part of the park’s forest area.

Each day after an early dinner, we enjoyed music outdoors and indoors, including a free performance by an ear-bending orchestra of 100 electric guitarists. They performed in the center of Complexe Desjardins, the sprawling indoor shopping mall that adjoins the DoubleTree by Hilton, where we stayed for 10 days.

The mall houses a large food court with a good array of options. Its strong air conditioning was appealing for quick respites when the temperature outside hit the mid-80s, as it did several days in a row during our visit. On one especially hot and muggy day, we were taken aback when — in a matter of minutes — the broiling sun gave way to rain and then a brief but intense hailstorm.

Walking from one outdoor festival stage to another to hear free performances by such standout artists as blues guitar titan Christone “Kingfish” Ingram and soulful singer Macy Gray, we were impressed by the geniality of the multigenerational throngs of people. And we were reminded of San Diego Street Scene — when it was held on the streets of the Gaslamp Quarter in the 1980s and 1990s — with new musical discoveries awaiting around almost every corner.

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If you go

Montreal Jazz Festival

The 2024 edition of the festival opens June 27 and concludes July 6. More than two-thirds of the event’s 225-plus concerts are free. The full schedule and tickets are available at montrealjazzfest.com/en.

Transportation

Several airlines offer round-trip lights from San Diego to Montreal, but Air Canada is the only one with nonstop service. Depending on your departure time and day, economy fares begin at around $789 for a round-trip ticket.

Lodging

We chose the DoubleTree by Hilton Montreal for proximity — it directly overlooks the festival’s two largest outdoor stages and has a sizable indoor pool. Rooms on the opposite side from the festival are quiet, but the ones facing the two stages provide a bird’s-eye view. So does the patio by the pool and the popular Bivouac Terrace restaurant and bar. The hotel’s generous breakfast buffet package, included with our room rate, was a nice bonus. The DoubleTree is located at 1255 Rue Jeanne-Mance. Rates for June and July visits during the festival start at $289 per night, (514) 285-1450; bit.ly/HiltonDoubletreeMontreal

Restaurants

Dining in Montreal is a foodie’s dream come true, from sidewalk bistros and bagel bakeries to high-end eateries. These are three of our personal favorites and each offers outdoor dining:

—The Restaurant Les Pyrénées and Gourmet Shop: Located on the picturesque Rue Saint-Paul, Montreal’s oldest street, this charming eatery specializes in French, Spanish, Basque and Catalonian dishes. The plancha-style calamari (cut in the shape of a flower) and the vegetarian paella were both delicately seasoned and beautifully arranged. 320 Rue Saint-Paul, Montreal, (514) 842-5566; bit.ly/RestaurantPyrenees

—Chez Dévi: Not far from the Montreal Museum of Fine Arts and Bell Centre Arena, Chez Dévi offers delicious traditional and contemporary Indian food in a New Delhi-like atmosphere. The naan was hot and fresh; the aloo gobi and spicy makhani were perfection. 1450 Crescent St., Montreal, (514) 286-0303; devimontreal.com

—NYK’S Bistro Pub: Right in the Quartier des Spectacles, where the festival is located, this cozy but lively eatery serves European fare and its own creative dishes. The mushroom bruschetta appetizer was a great prelude to the mushroom pappardelle and the just-right fish and chips. 1250 Rue de Bleury; (514) 866-1787; nyks.ca

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(Varga is the music critic for The San Diego Union-Tribune; Wood is a freelance writer.)

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©2024 The San Diego Union-Tribune. Visit sandiegouniontribune.com. Distributed by Tribune Content Agency, LLC.

We checked in with Hollywood writers a year after the strike. They’re not OK

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Christi Carras and Stacy Perman | (TNS) Los Angeles Times

LOS ANGELES — For 14 straight years, Ted Sullivan was consistently paid to pen stories for the screen. The Hollywood-based, 53-year-old TV writer and producer’s résumé boasts credits on hit shows such as “Riverdale” and “Star Trek: Discovery.”

Now, he spends seven to eight hours a day writing without pay, preparing for the unforeseeable moment that Hollywood studios start greenlighting projects and hiring writers again. He misses the picket lines of the WGA strike, which, to him, were the next best thing to working in a writers’ room, surrounded and supported by colleagues.

He hasn’t worked in a real writers’ room since the strike began.

“I feel like I’m in the worst ‘Twilight Zone’ ever,” Sullivan said, “where I wake up and I’m now 20 years old again writing spec scripts for free in my apartment.”

A year after Writers Guild of America members walked out in pursuit of higher wages, enhanced streaming residuals and limitations on the use of artificial intelligence, The Times checked in with multiple writers of varying experience levels spanning film and TV.

Some declined to be named to avoid risking future employment. All said that either they or their colleagues have struggled to find work for at least 12 months amid a contraction that has led to unstable production and employment levels across the entertainment industry.

The so-called peak TV era that enabled 599 original scripted series to land in a single year is over, likely never to return.

Film, TV, commercial and other production activity in the first quarter of 2024 was 20.5% lower than the five-year average, according to FilmLA, a nonprofit organization that tracks on-location production in the Greater Los Angeles area.

Globally, film and TV production lagged by about 7% in the first quarter of 2024 compared to the same period in 2023, per tracking company ProdPro.

“We’re not seeing this V-shaped recovery in writer employment,” said Patrick Adler, principal at Westwood Economics and Planning Associates. “If you squint, maybe it’s a slight upward bounce. But … it’s not perceptible in the data that there’s been some switch flipped on in the industry.”

The slowdown did not originate with the work stoppages of 2023. Writers and other entertainment workers began noticing a decline in employment opportunities long before the writers’ and actors’ strikes began.

Following the so-called streaming wars — when companies spent exorbitant amounts of money on direct-to-digital content to compete with Netflix — studios have dramatically slowed their pace.

Television networks have been purchasing far fewer shows, “and only from big names,” said Jess Meyer, a writer known for “The Flight Attendant.”

“You need cachet to even sell.”

The studios’ cost-cutting strategy has left writers in a pinch.

“As a viewer, what is there to watch? How can they make nothing?” Meyer said. “Even producers are saying, ‘Let’s wait until the right moment.’ I don’t know what that means.”

Some have speculated that entertainment companies are determined to lie low until they can recoup the money lost in the streaming frenzy. A studio executive who was not authorized to comment disputed that idea.

“I’ve never heard of anyone saying, … ‘We’re intentionally going to sell less,’” the executive said.

Another studio source who was not authorized to comment said the pullback was necessary because the TV production boom was “simply unsustainable.”

“Factors such as rising production costs, a lack of competitive film and television tax credits here in California, and shrinking advertising revenue certainly play into that, but this contraction is a return to normal more than anything else,” the person said.

The shrinking business has been particularly challenging for writers from underrepresented groups. Aiko Little, an early-career writer who serves as vice chair of the WGA’s Native American and Indigenous writers committee, said that they began to notice a dip in employment opportunities near the end of 2022.

From left, Lane Factor as Cheese, Paulina Alexis as Willie Jack, D’Pharaoh Woon-A-Tai as Bear, Devery Jacobs as Elora Danan in “Reservation Dogs,” a rare TV series centering on Indigenous characters. (Shane Brown/FX/TNS)

During the peak TV era, writers in Little’s circles encountered more openings than usual thanks to projects centered on Indigenous characters, such as FX’s “Reservation Dogs” and Peacock’s “Rutherford Falls.”

More recently, Little observed, it’s been difficult for Native American and Indigenous writers to secure jobs beyond the occasional documentary or revisionist western.

“I’m used to the uncertainty,” Little said. “But how do you explain to your community that the possible is looking more impossible?”

Some seasoned writers remember the start of the streaming revolution as a boon for writers. One screenwriter, who spoke anonymously to protect job opportunities, compared the advent of streaming to the arrival of Uber, when it seemed like “anyone with a car” could make a decent living on their own schedule.

Eventually, that started to change. Writing staffs and paychecks began to shrink. Hiring processes became more demanding and expensive, with companies requiring job candidates to participate in “pitch competitions” and prepare “elaborate PowerPoint presentations” hawking their ideas, the screenwriter said.

“It’s not enough to go in with a pitch,” said Chuck Rose, a 20-year writing veteran with several TV and film projects now in development as well as a series on Amazon. “It has to be based on [intellectual property] … and networks want them with an actor attached.”

Even when the streaming business appeared to be booming, industry leaders had been waiting for the other shoe to drop, said one studio executive who was not authorized to comment.

“I think when the pandemic started, the fear became more real,” the executive added. “I don’t think it’s a surprise to anyone who follows the business.”

The TV and streaming industry’s consolidation means writers will continue to struggle with fewer buyers. A major setback for writers was Nexstar Media Group’s 2022 takeover of the CW Network — previously considered a haven for up-and-coming storytellers seeking steady work and upward mobility.

Writers told The Times that since the CW changed hands from Paramount Global and Warner Bros.’ Discovery, one of their last reliable sources of employment has all but disappeared. Under Nexstar, the CW has been moving away from scripted, young-adult-facing dramas toward live sports and other programming targeting its parent company’s evening news-watching audience.

“Mentors had ushered many of us toward going that route,” Little said. “So when the blow of the CW happened, I think many of us were left at a bit of an impasse. … It was a challenge for the mentors as well. I think a lot of them felt, possibly, a little helpless.”

The CW sale is one of many corporate shakeups in recent years. Walt Disney Co.’s acquisition of 21st Century Fox, followed by Warner Bros.’ merger with Discovery, also have taken a toll on employment — with the possible sale of yet another major studio, Paramount, still looming.

The “Core Four” of “Riverdale” returned in Season 6. They are, from left, Betty (played by Lili Reinhart), Veronica (Camila Mendes), Archie (KJ Apa) and Jughead (Cole Sprouse). The CW was once considered a haven for early-career writers seeking steady work and upward mobility.(Courtesy The CW/TNS)

Post-merger, Warner Bros. Discovery has stood out for shelving film and TV projects that, in some cases, have already been completed, in favor of tax breaks and other savings.

“That’s work that people have spent a lot of time on that … they don’t get to put on their résumé anymore,” said Madison Bateman, an animation writer and story editor known for “DuckTales” and “The Ghost and Molly McGee.”

CGI cartoon renderings of the Road Runner and Wile E. Coyote in a dim dungeon.

According to Bateman, many animated productions have switched from hiring staff writers to freelancers, who make less and sometimes have to wait several months for paychecks.

What was once a career that Bateman’s parents could “brag to their friends about” has devolved into “the exact thing that they were worried about and warned … about having a backup plan for.”

“I’m flipping furniture now,” she said. “A friend is learning to groom dogs. We’re really having to scrounge for work.”

While attention has primarily focused on the challenges in TV, film writers have been feeling the squeeze as well.

Veteran feature writer Cameron Ali Fay began to notice a downturn at the beginning of 2022, when Netflix revealed in a bombshell earnings report that it had lost 200,000 subscribers, tanking the streaming giant’s stock.

“That caused a lot of shockwaves,” Fay said. “I think every other streaming service was looking at that and thinking, ‘Oh my God, we’ve gotta tighten our belts.’”

Prior to what Fay called “the Netflix ripple effect,” feature writers could count on streamers to invest in original screenplays, even as the theatrical release calendar was decimated by the COVID-19 pandemic and ultra-fixated on established intellectual property.

Most feature writers — who aren’t fortunate enough to be operating in the big-budget IP space — have since been left to compete for dwindling streaming deals, Fay said.

“It’s a really difficult business,” Fay added, “and I’ve only seen it get more difficult for the majority of artists in the past 17 years.”

The WGA strike culminated in a historic deal in September that raised writers’ wages, established AI protections and created minimum staffing requirements.

Those gains have “started to reverse some of the damage,” one writer said. But until the rest of the industry bounces back, the wounds could take some time to fully heal. “Survive to ’25” is a sentiment that writers have begun to internalize.

“I really, really worry about these young writers, and … sometimes I feel guilt — like I should be talking them into doing something else with their lives,” Sullivan said. “But nothing would have stopped me. And I know that nothing will stop them.”

_____

©2024 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.