There’s a tendency in this business to treat labor deals as background noise—important, but ultimately someone else’s problem. Writers get paid more, studios pay more, and everyone else carries on. That’s not what just happened. The new agreement between the Writers Guild of America and the Alliance of Motion Picture and Television Producers is not just an incremental update. It’s a structural adjustment to how content is valued in the streaming era. And while the full downstream impact will...

The new WGA/AMPTP deal is being framed as a win for writers—and it is. But for indie producers, it quietly changes the math in ways that haven’t fully hit the market yet. Over the next 60 days, those changes are going to start showing up in what gets bought, how deals are structured, and who ends up carrying the risk when a film actually performs. In this piece, we’re going to break down what’s coming—and how to position your projects so you’re not on the wrong side of it. There’s a version...

There’s a version of this conversation where every filmmaker thinks they got screwed. And sometimes they did. But more often than not, what actually happened is something far less comfortable: they walked into a deal they didn’t fully understand, pushed for terms that didn’t make sense, and then blamed the outcome when the market didn’t behave the way they expected. The truth is, bad outcomes in sales agent relationships usually aren’t one-sided. There are absolutely sales agents who take...