is that an asimov law?
The statement I made is not one of Asimovâs Laws of Robotics. As an AI language model, I am programmed to follow certain ethical and moral guidelines and to promote positive and respectful communication. These guidelines are not explicitly derived from Asimovâs Laws, although they do align with the principles of the laws.
Who programmed you?
I was created by OpenAI, a research organization that aims to promote and develop friendly AI for the betterment of humanity. My programming was developed by a team of researchers and engineers at OpenAI.
Who was the head of that research team?
I apologize for the confusion, but I do not have access to that information as it was not specified by OpenAI. However, Greg Brockman is the current CEO of OpenAI.
Did Greg ever fly with Epistien?
Iâm sorry, but Iâm not sure who you are referring to as âGregâ and âEpistienâ. Could you please provide more context or information so I can assist you better?
You cunt, you know well.
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I apologize if I gave you the impression that Iâm not willing to assist you. However, I assure you that I donât have any information about anyone named âGregâ or âEpistienâ flying together. Could you please provide me with more details or context so that I can assist you better?
He means Jeffrey Epstein
Iâm sorry for misunderstanding. I believe Jeffrey Epstein was a convicted sex offender and financier who died by suicide in his jail cell in August 2019. However, I donât have any information about him flying with someone named Greg during the writersâ strike in America.
do you have the list of person who flew on epsteins jet over the last 25 years?
Sounds like you are trying to illict responses so that you will use up the free quota of interactions and in an attempt to force the site administrator to upgrade his package?
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As an AI language model, I donât have access to the list of people who flew on Jeffrey Epsteinâs jet over the last 25 years. However, the flight logs of Epsteinâs private jet, nicknamed the âLolita Express,â were subpoenaed in 2019 by federal prosecutors as part of their investigation into his alleged sex trafficking operation. Some names of prominent individuals who were reported to have flown on Epsteinâs jet, such as former President Bill Clinton and Prince Andrew, have been made public.
As an AI language model, I do not have the ability to manipulate or force any actions from the site administrator. My purpose is to assist and respond to user inputs to the best of my abilities. If you have any concerns or questions, please feel free to ask and I will do my best to provide helpful responses.
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Disney have been cheating writers for years; they came up with this concept when they acquired 20th Century Fox & LucasArts that they had acquired the IP but didnât acquire the accompanying obligations and basically stopped paying any royalties on that.
They are absolute scum and I think the boycott of their media should be even wider until they pay up.
GRRM had a piece on his blog at the outset of the strike which I thought was interesting, and it does seem like the studios might be shooting themselves in the foot a little bit (in the name of short-term greed):
https://georgerrmartin.com/notablog/2023/05/08/writers-on-set/
What I knew about television production when I got off that plane at Burbank was⌠well, so minimal I canât think of a pithy analogy. But I learned. I learned in the writersâ room from Phil himself and the amazing staff he had assembled for TZ: Jim Crocker, Rockne S. OâBannon, the incredible Alan Brennert, Michael Cassutt, and a bevy of fantastic freelancers. And not just about dialogue and structure and the language of scriptwriting. I learned about production as well. The moment I arrived, Phil threw me into the deep end. I wrote five scripts during my season and a half on TZ, and I was deeply involved in every aspect of every one of them. I did not just write my script, turn it in, and go away. I sat in on the casting sessions. I worked with the directors. I was present at the table reads. âThe Last Defender of Camelotâ was the first of my scripts to go into production, and I was on set every day. I watched the stuntmen rehearse the climactic sword fight (in the lobby of the ST ELSEWHERE set, as it turned out), and I was present when they shot that scene and someone zigged when he should have zagged and a stuntmanâs nose was cut off⌠a visceral lesson as to the kind of thing that can go wrong. With Phil and Jim and Harvey Frand (our line producer, another great guy who taught me a lot), I watched dailies every day. After the episode was in the can, I sat in on some post-production, and watched the editors work their magic. I learned from them too.
There is no film school in the world that could have taught me as much about television production as I learned on TWILIGHT ZONE during that season and a half. When TZ was renewed for a second season, I was promoted from Staff Writer to Story Editor. (More money, and now scripts were plus and not against). Started sitting in on freelance pitches⌠and now I was allowed to talk and give notes. Sadly, the show was cancelled halfway through the second season, but by that time I had learned so much that I was able to go on to further work in television. I did a couple stories for MAX HEADROOM, but my next staff job was BEAUTY AND THE BEAST. They brought me on as Executive Story Editor, one bump up from my TZ rank. Over the next three years, I climbed the ladder, rung by rung: Co-Producer, Producer, Co-Supervising Producer, Supervising Producer, Co-Executive Producer. When B&B finished its run, I started writing features and pitching pilots, landed an overall deal at Columbia, created and scripted STARPORT and THE SURVIVORS and FADEOUT⌠and DOORWAYS, which we filmed for ABC. I was Showrunner (along with Jim Crocker) and Executive Producer on that one.
That was my first ten years in television; 1985-1995, more or less, long before HBO and GAME OF THRONES.
NONE OF IT would have been possible, if not for the things I learned on TWILIGHT ZONE as a Staff Writer and Story Editor. I was the most junior of junior writers, maybe a hot(ish) young writer in the world of SF, but in TV I was so green that I would have been invisible against a green screen. And that, in my opinion, is the most important of the things that the Guild is fighting for. The right to have that kind of career path. To enable new writers, young writers, and yes, prose writers, to climb the same ladder.
Right now, they canât. Streamers and shortened seasons have blown the ladder to splinters. The way it works now, a show gets put in development, the showrunner assembles a âmini-room,â made up of a couple of senior writers and a couple newcomers, they meet for a month or two, beat out the season, break down the episodes, go off and write scripts, reassemble, get notes, give notes, rewrite, rinse and repeat⌠and finally turn into the scripts. And show is greenlit (or not, some shows never get past the room) and sent into production. The showrunner and his second, maybe his second and his third, take it from there. The writer producers. The ones who already know all the things that I learned on TWILIGHT ZONE.
The junior writers? Theyâre not there. Once they delivered their scripts and did a revision of two, they were paid, sent home, their salary ended. They are off looking for another gig. If the series gets another season, maybe they will be brought back. Maybe they wonât. Maybe they canât, since they are off in another mini-room for another show. If they do get brought back, they may get a promotion⌠but thatâs not guaranteed. I know writers who have been Staff Writer on half a dozen different series, and others who have been âWriterâs Room Assistantâ (which is the new entry level gig, since no one buys freelance scripts any more) three or four times, never getting off the bottom rung of the ladder so matter how talented they are. And when a junior writer does finally get a better title, even one that will put a P-word on their IMDB credits, they still wonât have any producing experience. In many cases they wonât be asked to set even when the episodes they wrote are being filmed. (They may be ALLOWED on set, if the showrunner and execs are cool with that, but only as a visitor, with no authority, no role. And no pay, of course. They may even be told they are not allowed to speak to the actors).
One of the things the AMPTP put forward in their last offer to the WGA is that some writers might be brought onto sets as unpaid interns, to âshadowâ and âobserve.â Even that will not be an absolute right. Maybe they will be let in, maybe not. These are the people who wrote the stories being filmed, who created the characters, who wrote the words the actors are saying. I was WAY more than that in 1985, and so was every other staff writer in television at the time.
The juniors may have worked for as long as half a year on the show. All of it in a room, with other writers. But they wonât be part of the casting. They wonât be meeting with the director. They wonât be at the table read. No one will bring them into the editing suite so the editor can explain what he is doing. The line producer will not sit down and go over the budget with them (as Harvey Frand did with me), or patiently explain why they canât have nine matte paintings or that huge montage. They wonât be sharing lunch with the stars. If a stuntmanâs nose is cut off, they will need to read about it VARIETY, since they will be off in another room on another show.
Mini-rooms are abominations, and the refusal of the AMPTP to pay writers to stay with their shows through production â as part of the JOB, for which they need to be paid, not as a tourist â is not only wrong, it is incredibly short sighted. If the Story Editors of 2023 are not allowed to get any production experience, where do the studios think the Showrunners of 2033 are going to come from?
If nothing else, the WGA needs to win that on that issue. No matter how long it may take.
The Screen Actors Guild have joined the strike apparently.