Here are a few posts from last week's Greenpage that might be worth your time...
The Rebel Alliance: SAG and the WGA Owe Other Unions a Debt. How Will They Repay It?
Vanity Fair: “I feel like I’m stuck inside a saloon in a Western, and outside there’s two groups with guns,” says Sarah May Guenther, a camera operator who has worked on films and TV shows like Joker, Maestro, and The Gilded Age. The gunslingers she’s imagining—and you can decide for yourself who’s wearing the black hats and who’s wearing the white ones—are the studios and the 75,000 or so writers and actors on strike.
Music Festivals in the Time of Extreme Weather
Pitchfork: “It was mind-boggling,” the 44-year-old college professor says over Zoom from her home in Jacksonville, Florida. She wondered, “Do I need to panic?” Then she glimpsed the sky outside and realized what was happening: Hail the size of golf balls—one person reported seeing stones the size of apples—was pummeling down, pelting concertgoers, and sending thousands scurrying for cover wherever they could find it.
Stephen Fry Issues Warning After AI Stole His Voice From ‘Harry Potter’ Audiobooks
The Mary Sue: Stephen Fry is warning others about the dangers of artificial intelligence after he found his voice was “stolen” and used in a documentary without his permission from his narration of Harry Potter audiobooks. While Fry is best known as an actor, comedian, and broadcaster, he has also devoted much time to narration work. Most notably, he read and recorded all seven Harry Potter novels so they could be released in the UK as audiobooks.
Meet the Guy in Charge of Cleaning Up Burning Man
GQ: Once the last of the wooden ship sculptures have been wheeled away and the Orgy Dome has been disassembled, once the dusty influencers in rave goggles have driven off and Diplo has returned to his native habitat, it's time to clean up Burning Man.
How Do We Transform the Field We’ve Inherited?
HowlRound Theatre Commons: A commons-based approach places value on what makes each of us unique. Built with intention (and lots of trial and error), the Latinx Theatre Commons is a movement that evolves and changes based on how its members show up. Each time we gather, whether it is a virtual steering committee meeting, an in-person convening, or in the regions we create, there is potential. By working in an intentionally flattened hierarchy, each person who comes to the Commons brings something special with them: who they are. Whether they are the artistic director of a regional theatre, a technician, a college professor, a freelance designer, or any other role, the value of everyone’s contribution is in representing who they are, the work they care about, and the region they serve.
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