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To get you up to speed, here’s a quick overview of course of events that led up to the current SAG strike scare. I also suggest you go to the above links in the first paragraph, for more background.

SAG’s contract with AMPTP expired on July 1, 2008. And AMPTP made it’s last and final offer, with terms that were unacceptable, to SAG. Everyone was reluctant to consider a strike only a few months after the WGA’s strike ended.

Rather than calling for it’s members to vote for strike authorization at that time, SAG continued to work under the expired contract while SAG union leaders continued to try creative ways to keep the negotiations with AMPTP going; including getting a third party federal mediator. Still with no resolution in sight at the end of the mediation process, SAG announced that it would be sending out a strike referendum ballot to SAG members in December.

What this means is that if 75% of SAG voting members vote “Yes”, SAG will have the authorization to strike. It does not mean that SAG will, but it does mean that SAG can strike if no agreement is reached.

The contract is complicated so (to the best of my understanding) I’ve attempted to provide brief, simplified outlines of only 3 of many the issues that remain unresolved at this juncture:

1. AMPTP wants SAG to eliminate force majeure protections from the contract. This protects Actors when production stops as the result of an “act of God” has been and is one of the most basic protections of a union contract, which has existed since the first SAG contract in 1937.


2. DVDs: Residuals and benefits have not been improved for Actors for 22 years. Because in 1986 video was considered “experimental,” AMPTP only agreed to give Actors 1% of the revenue generated through Video (now DVD) sales with promises to review it once it became a valid vertical for film. DVD sales are currently the biggest revenue source for film/television products. Yet, AMPTA has never increased the Actors’ DVD residuals and benefits. And refuses to do so now.


3. New Media: Over the past few years the use of Internet to watch movies and TV (weather on your computer or on your phone), has become another vital revenue source for these products. SAG wants to get paid and receive residuals for work in this medium.  AMPTP says that it’s still an “experiment,” so they want to keep Internet projects non-union and without residual compensation. AMPTP is ignoring that as technology had improved, how and where we watch our shows has changed. Clearly, this is an issue that SAG cannot ignore. It is not a potential medium for the film industry (as AMPTP argues) but a very current one.

An aside: New Media compensation was also an issue in the WGA (Writers Guild of America) negotiations, one that continues to be problematic. In fact on November 20, 2008, the WGA filed for arbitration against AMPTP for non-compliance with the terms of the contract. AMPTP is not making new media payment to writers or paying the agreed upon residuals for the on-line streaming of television shows.

Because I make my living in the film and television industry, these issues are near and dear to me. But beyond that, I believe that people should be treated fairly in the workplace and receive fair compensation for work performed. I have faith that these are values that most people share and would be willing to fight for. And, I believe that unions are there for a reason, to protect its members from being taken advantage of.

I believe that voting “YES” on the SAG strike authorization referendum will give SAG an advantage by creating a stronger base from which to approach AMPTP for a fair contract. For this, power in numbers count.

* BTW, I’ve invited AMPTP and SAG members and IA film crewmembers to join in the discussion here…let’s see who shows up.

He said he wanted to see me but, then...he used his concern that “she might not understand or appreciate our relationship” as a reason not to.

Guess he’s not really in charge of his own life. He’s definitely ruled by how the world views him not by what he wants or thinks. Or -- I'm wrong and maybe he is unconventional but his girl isn’t and he’s doesn’t want to start a fight.

At any rate, I do hate it when a man (or anyone for that matter) uses other people, or fear of another's judgment, to make their decisions. It’s just so un-empowering.

It was one of those moments that made me go...hmmmm...

There was so much I wanted to say.
But I didn’t.
I’m afraid my way of looking at the world is too sophisticated; it was simpler just to let it go.

See from my perspective, the fact that a lover of mine is seeing another woman is of no concern to me -- unless he’s inviting her to join us. And my sleeping with him is of no concern to her, unless he is ruled by conventional values.

But it did make me think about how people make choices in relationships, how much people exercise their freewill, and what comes into play in determining what their values are in relationships.

For me, I value each moment I get to spend with someone special. I don’t fret the small stuff (like if they are sleeping with someone else or if they have a wife) what difference does that make when we’re sharing a moment?

But many people determine the success of a significant relationship by what a person does (or doesn’t do) with others. They believe that being physically faithful is a value that gives meaning to their relationship.

My point is that what ever you do in a relationship, it's ok. It's your choice and you have to do what you're comfortable with. Just don't kid yourself, if you’re kicking someone out of your bed, because you’re afraid of what another will think...you are very traditional. It’s not a bad thing. But, if you are such a person, admit this to yourself, otherwise you end up looking and feeling foolish. Don’t pretend you’re able to live unconventionally if you can’t.

But don’t fret it, most people can’t. Most people are not comfortable with making their own rules. I know this because I do live outside the box. And as much as people “admire” my courage and precociousness, and are envious of me for having so much freedom. My freedom has a price. Most people can’t live with that price or don’t choose to.

The cost includes people being uncomfortable around me because of my lifestyle. My lack of attention to the traditional structure of relationships, threatens their sense of order.

It can be very difficult for people to live without rules to follow; rules that are set up by others or by tradition. Just like it can be difficult for those of us who do live outside social norms. We must carry the burden of being judged by rules that we feel do not apply.

But, I don't see being traditional as a failing, as long as the individual is aware of that fact about themselves. It’s only a failing if you fool yourself into thinking you are free from convention, when you’re not beyond convention.

Well it's almost that time... Time to choose the Fun Party Presidential Candidate, RED.

We need to make a choice to get our great nation back to the fun times! Because it sure has been a bummer lately.

And those of you who are not in the "Swing States", don't fret, under Red's regime all states will be swinging!

Write me in so I can be your next president.

************************************************************************
For more on the RED'S Presidential Campaign  CLICK HERE

Click to get your very own RED FOR PRESIDENT button

And, remember to write my name in on the ballot on Tuesday November 4th, so I can be your next President.

Kisses, 
Red

Because the movie is an homage to Hammer Horror Films of the 1960's (including the likes of Ingrid Pitt as Anna – one of the best known actresses of this genre), this stylistic film has elements that are often lost in contemporary horror.

Yes, it has the expected gore necessary for its classification, but it also in brings the humor and sophistication of Hammer Horror.  The beautiful women (Darby Lynn Totten, Suzi Lorraine, Sarah Dauber,) and gory special effects (Josh Turi), bring to this film the sexual ingredient that makes those old British horror films so fun to watch.

Director and writer Scott Bunt, through his script and direction has created characters that are driven to face moral and social issues that are relevant to current events of our time Yet, he does so without losing the endearing humorous aspect of this genre of horror. Thus making the magnitude these struggles more accessible to the audience.

The movie immediately brings you it to a confusing, intriguing, and powerful world (or should I say worlds). From the fear filled fleeing of a beautiful innocent woman; to the struggle of “the good guys” Doctor Maitland (Edward X. Young), Professor Sorel (Bill Timoney); to the unexpected temporal traversing of the young hero Stefan Christoph (Troy Holland) through different worlds, the audience is drawn in.

With unexpected turns of events and circumstances, the viewer fights, along with the characters, to understand what the next best step would be to tackle the pull to the evil-side, lead by Prester John (played by none other than the "King of Splatter" -- Tom Savini).

SEA OF DUST is an experience worth having, bringing you to places that are both visually astonishing and frighteningly seductive.

The eerie musical score (Jasper Drew), beautiful costumes (Joanne Haas), and stunning cinematography (Brian Fass), make for an integrated visual and visceral experience. SEA OF DUST is not at all the typical horror experience, which is what makes it so exceptional.

If you are a Horror Movie Fan, especially a Hammer Horror Fan...that likes a good think with your scare…this is the movie for you. 

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From the first stirring swells of the orchestra, to the sweet sound of stunning voices, coupled with the creative set (Tony Walton), lighting (Richard Pilbrow) and costumes (David Zinn), this musical is what Broadway is supposed to be.

We go to Broadway to be swept away to a place that we cannot go without the magic of  theatre. And this show does exactly that. It's a story about love; true, unselfish, love. Yes, there is romance and passion in every word, look and movement. But beyond that, there is a remarkable blend of suffering and salvation reflected in the familiarity of these characters, superbly expressed through music.  

Yes, just like everyone else, I’d heard the scathing reviews. And upon hearing this I immediately decided that A TALE OF TWO CITIES was a must see. I never trust the critics. I trust the audience (and my gut).

 Even Richard Ouzounian in his bitter review of the show stated, "The audience stood and cheered at the preview I attended. Some even wept." See, the audience loves the show – it’s only a few, people – unfortunately those with the pen – that didn’t get it. (I often wonder why – but “the psychology of the critic" is a topic for another blog post.)

 All too often, because too many listen to those that are paid to comment on art (rather than those that pay to see a performance), shows suffer and close before their time. And I’m afraid that because of a few cruel and inaccurate assessment of this beautiful story in song, this masterpiece could be driven out of the theatre. So I felt compelled to bring it your attention and ask you to make the choice yourself. Go ahead and see good theatre against the critics advice. With our purchasing power we can buy the ticket that will keep shows like this open and keep Broadway alive.

The irony I found in many of the initial reviews, was that they complained that one of the show's major flaws was a similarity to Les Miz. But Les Miz – unarguably the best musical in its genre – changed the nature of Musical Theatre. So to be a musical worthy of such a comparison, speaks volumes to the brilliance of A TALE OF TWO CITIES. In my opinion this is one of the highest complements one can be given when creating an Epic dramatic musical. The fact that Broadway finally has another musical of this nature is reason enough to go running to the theatre to see it.

{Footnote: Les Miz initially received scathing reviews in most of the London papers, but within days of the opening, audiences spread the word and ticket sales sky-rocketed, and it played to sold-out houses from then on. – In my estimation, A TALE OF TWO CITiES audiences will do the same for this show.}

Before I went, I was warned that it was "long" although, surprisingly it didn't feel long at all; I could have sat through hours more of this magnificent production. Before I went, I knew that costumes would be beautiful and the show would be a spectacle (it is an Epic musical, after all, it is based on the Charles Dickens book). And if those were reasons enough to see it – the critics’ attempts to shut it down is the clincher.

This is an event that should not be passed over or slip away.

It celebrates the best and the worst of the human condition. It not only portrays inner struggles of one man but it inspires. Because it expresses the power of making life-changing choices as a result of our connections to those we love, A TALE OF TWO CITES is more than just a Broadway show, it’s an poignant and thrilling experience.

 Go see the greatest musical on Broadway today. A TALE OF TWO CITIES, it's amazing!

Advertising has always used sexual desire and potential success in the sex-arena as allure to promote products. But in the past it’s always been more understated or subconscious in the messaging. These ads are in your face, Get Physical Now! And I, for one, am relieved about that.

About a month ago, I started seeing Dentyne Gum adds with the tag line “Make Face Time” – with references to getting off the Internet and connecting directly with people. With the increasing trend of people “Facebooking” or “Myspacing” each other – even texting – rather than talking, the message is it’s currently relevant. But the connections that are portrayed in these ads photos are beyond talking; it’s the physical connection of lip locking and lying on top of each other that are front and center.  

Way to go Dentyne! Thank you for not messing around with the “start chewing and messing around” message that you’re attaching to your brand. And I don’t know about anyone else, but I’ve been buying more Dentyne and rolling around (I mean, “making face time” with others) as a result!  ;)

But to top these ads, Remy Martin has come out with the “Things Are Getting Interesting” campaigned on the same subway cars.  And they’ve gone even further in their push to associate their product with sex. Photos suggesting girl-on-girl bondage and threesomes are prominently displayed, for all to see and enjoy.

Let’s face it; we’ve all been involved in sexual encounters resulting from alcohol consumption. (And if you haven’t, I’m sorry – try some Remy and you’ll understand the magic of these experiences.) So the ad is based in truth, which is what makes it so shocking and so wonderful.

Truth in advertising?...A law? Yes.
A common practice?...Generally, No!

But the Remy Martin ad campaign says, through it’s pictures and tag line, what we already know to be true. What we already know will happen when we drink fabulous alcoholic beverages. It's Brilliant!!!

Hat’s off (and clothes too) to both of these fun-filled ad campaigns.
Now go out there, pour yourself a drink, chew some gum and have some fun!!