Worth a Look

Here are a few posts from last week's Greenpage that might be worth your time...

Merged groups announce Confluence Theater of Pittsburgh as new name

90.5 WESA: Confluence Theater of Pittsburgh is the name of Pittsburgh’s newest theater company — the result of the merger of two of its oldest troupes. The group announced the name Monday, about a month after the formal merger of Pittsburgh Public Theater and the Pittsburgh CLO.

 

The Federal Film and TV Tax Incentive Gets a Name as Momentum Builds

www.hollywoodreporter.com: Amid a precipitous drop in domestic film and television production in recent years, Hollywood has coalesced around support for a federal tax credit. It’ll almost always be cheaper to shoot in other countries, but the thinking is that government support could make it palatable to shoot more big-budget projects in the United States.

 

EFF to Courts: Don’t Rewrite Copyright Over AI Hype

Electronic Frontier Foundation: The history of technology is rife with copyright panics. In the 1980s, major rightsholders ran to Congress and the courts, claiming that videotape recorders (VTR) were “to the American film producer and the American public as the Boston strangler is to the woman home alone.” Then, the Supreme Court declined to embrace the hype, noting that the VTR was capable of all kinds of non-infringing uses, like time-shifting and cautioning courts to avoid rewriting copyright law in response to new technologies. We believe that courts now should be similarly wary about the hype surrounding AI.

 

8 things Gen Z sees as burnout that Boomers & Gen X just call having a job

stylegirlfriend.com: A 24-year-old and a 56-year-old describe the same Wednesday. The younger one says it was brutal. Back-to-back calls, a manager who wanted a revision, a Slack message at 6:40 that she answered from the couch. She uses the word burnout twice before she gets to what happened after work. The older one says it was Wednesday.

 

From Bacon to Bananas: Edinburgh Festival Fringe 2026 in 24 Shows

The Theatre Times: With more than 4,200 shows making up this year’s Edinburgh Festival Fringe, twenty-four performances can hardly stand in for the whole thing. What follows is a subjective itinerary through a week shaped by my own tastes and curiosities, even if several stops were among the Festival’s conspicuous talking points. Across theater, comedy, clowning, and magic, certain motifs kept surfacing in parallel: the stories we tell about ourselves, the selves we perform for others, the seductions of visibility (both online and off), and the strange uses of laughter as camouflage, release, resistance, or simply a way of survival.