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Oct. 2, 2023 - Minion Death Cult

38:00

WGA WINS STRIKE! Interview w/WGA Strike Captain Olga Lexell

TODAY: Alexander interviews WGA member and strike captain Olga Lexell about the union's successful 5-month long strike: what worked and why She shares examples of how class consciousness can arise during strike actions like this, and how previous organizing within the BLM movement may have helped foster our current strike wave. Support the show and get two bonus episodes a week at http://patreon.com/miniondeathcult

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	Hey, due to a huge flub on my part, the other half of this episode got deleted, but never fear because the more important part and the more fun part is still here.
	Here's my interview with Olga Leksel from the WGA to take an inside look at their five-month-long strike that just ended in an agreement.
	Here it is.
	The liberals are destroying California and conservative humor gone awry... Conservative humor gone awry is going to fascistphonia today.
	So stay tuned.
	We're going to take a few pictures of the desert and how their policies are actually messing it up.
	It's not beautiful when you go across that border.
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	We'll show you exactly what it looks like.
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	All their remarkable stuff.
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	Okay, I am joined by Olga Lexel, a member of the Riders Guild of America and a strike captain.
	Thank you so much for joining us today, Olga.
	Yeah, thanks for having me.
	Are congratulations in order?
	I know that there's a tentative, or I don't know if you guys call it a tentative agreement, I know there's an agreement between the studios and the Writers Guild now.
	Is this a cause for celebration?
	Oh, absolutely.
	I've seen many union agreements in my day, and this one is incredible.
	It's actually shocking how good it is.
	Fantastic.
	I'm glad to hear that.
	Does it still have to be ratified by the members?
	Are you guys going to vote on it?
	I'm not sure how your process works.
	Yeah, so our ratification actually starts tomorrow.
	We have until the 9th.
	And then it's all in play.
	Nice.
	So everybody's going to get to vote one member, one vote sort of thing?
	Yeah, I think it's everybody who's an active current member in good standing, I believe.
	Great, yeah, so I guess we'll see what, you know, the membership overall feels about the agreement, but you sound pretty happy with it.
	I know there's a lot, there were several issues, very key issues, you know, and I've been looking over a summary of the agreement, and it seems like a lot of this stuff was taken care of.
	Writers rooms were a big issue in terms of a minimum number of writers Involved in a writer's room is was my understanding and then not only that but Attempting to fight back against I can't remember the name specifically of the the strategy by the studios to get writers into a room to write an entire season of a show without calling it a season of a show and
	Yeah, they call them mini rooms or development rooms, things like that.
	Yeah, our issues were all like very existential.
	It was all about the entire theme of the negotiation was just preserving the writer's room and the role of the writer.
	But yeah, we won the minimum writer's room size.
	We codified the idea that once you greenlight a new season, you are required to have a writer's room, which is huge.
	Obviously, there's a ton of protections against AI in there, too, that are huge for our well-being.
	The massive win is definitely the minimum room size.
	There's requirements for how many weeks of work you are guaranteed.
	So you can't have these... I know somebody who had a one-week job as a staff writer, which is insane.
	So there's a lot of protections like that in here, which everyone is stoked about.
	I mean, yeah, that's great.
	Like, you know, most most of this, I would look at this as an issue or just the fight that you guys had is is an important fight to have as as workers and an important fight for people to kind of see play out as with any labor struggle or strike.
	Um, but it does seem like the writers room arguments is the biggest one other than AI.
	Although that was still, uh, in, in, you know, that's a future thing.
	AI is not currently capable of writing entire seasons for shows.
	Although if it were, you can bet that audiences would know the notice the difference.
	But other than that, I think Both the writers rooms and the stipulation of having writers on production during the filming.
	Those are the issues that maybe have most relevance for just the average viewer who's not looking at this as a labor issue.
	You know, the average viewer would be like, Wait, how come they just totally forgot that this character has feelings for this other character?
	What happened to that thread or anything?
	That's all the stuff that is policed that is dictated by having a writer on set who can keep all those plot lines in some sort of cohesive order that makes sense to an audience.
	So yeah, something like that does seem absolutely pivotal just to the viewers And for me personally, I'm also a member of IATSE and I've been to set a lot.
	And I personally really love that stipulation because it's one of the best ways we build solidarity with other crew members.
	I felt like during the picketing, I met so many writers who had never gotten the chance to go to set.
	And, for example, when Teamsters were refusing to cross our picket line, you know, like, we would say, oh, look, there's a steak bed truck.
	And people would be like, I had no idea what a steak bed truck was.
	And I've noticed, like, a lot of people picking up that vocabulary now.
	And I was like, damn, we're really losing a lot just from writers not being on set.
	I mean, of course, there's the obvious stuff for viewers, but the worker solidarity, for sure.
	Like, you're not meeting other crew members when you don't go to set.
	That's a really good point.
	Yeah.
	As like this, this sort of, um, the comprehensive job, you know, the, the, uh, the idea of having a job in this country that sort of is like an all hands, you know, all in, not all inclusive, but like, You have a sort of robust job description, and that's that's part of the industry that a lot of that stuff is going away with the gig economy.
	You know, feels like studios and corporations are chipping away at the idea of labor or at the idea of work and sort of segmenting it into like either gig workers, you know, separating that work into individualized gig workers or even just with Um, actual employees, you know, monitoring their time and monitoring their movements and behavior to ensure that they can't commiserate with their fellow employees.
	And so, yeah, absolutely.
	It does.
	I hadn't thought of that, but that that is a great knock on effect of a of a strike in a labor movement.
	And something we've talked about on this show is how, um, The George Floyd uprising and the BLM protests and, you know, wave of actions didn't quite result in defunding the police the way, you know, a lot of people were hoping, but it did make connections between these people.
	And I think is one of.
	The progenitors of this current strike wave was you see a lot of people who were activists in the BLM movement going on to organize their workplace.
	You know, they met with labor during those during the that movement and were able to sort of shift gears a little bit.
	And I can see something like that continuing to happen as long as workers are still able to meet with each other and see each other's mutual struggles.
	Yeah, and I'm glad you brought up the protests from 2020 because for me at least, I'm also an organizer and I do a lot of abolition stuff.
	Being out on the picket lines, you know, TV writers all know each other because we all work together in writer's rooms when we're lucky.
	For example, feature writers don't know each other very well.
	They don't get to work with other people.
	And I was hearing from a lot of feature writers on the Picket Line who were like, oh my god, the sense of community I have here, just being with everybody, is so powerful.
	And for me, obviously, I'm really deep into relational organizing, and I feel like that's amazing for the movement as a whole.
	It can't be beat and it's like it's beyond the sort of platitude or trite phrase of like our shared humanity or like we're all in this together or like one you know one race the human race like no it's actual people on the ground with material interests who realize that by working together You know, along the lines of their shared mutual interest can actually achieve something.
	And that sensation is very real.
	It's not just intangible.
	It's not just like romanticizing day to day life.
	It's an actual other thing that a lot of people don't get to experience anymore because they're deliberately sabotaging it, frankly.
	And even beyond, like, within my own industry, seeing all these unions show up for each other.
	You know, we were picketing with the Amazon Teamsters.
	We were picketing with SCIU janitors.
	We were picketing with the Unite Here 11 hotel workers.
	And I was having a conversation with a friend who's been a TV writer for years, and he said, This is the first time I've had the realization that I am a laborer, like I am a worker above all else.
	And I have more in common with every other worker than I do with like any entertainment boss.
	And I was like, yes, we're waking up!
	Yeah, absolutely.
	I mean, it's a beautiful thing to see for sure.
	So in terms of A.I., you know, a big, like you said, an existential threat to human writers is A.I.
	And it doesn't matter that A.I.
	sucks ass, that A.I.
	is just an obviously inferior product.
	That's not going to stop studios from using it or trying to use it to eliminate labor costs, which is, I mean, that's like what the number one function of the boards of directors for any one of these companies is lowering costs.
	I mean, labor is probably the biggest cost for any of these companies.
	Um, so you can bet they would adopt a subpar, shitty technique as long as it say, I mean, look at all, look at them, the shift to CGI over practical effects.
	You know, it's obviously something that everybody is complaining about, but they're not going to stop doing it because what else are we going to watch?
	I love that you guys have headed that off.
	It appears in this summary that just A.I.
	cannot be used whatsoever as part of development unless a writer willingly wants to use A.I.
	and they can't ever be pressured into quote willingly using an A.I.
	by a studio.
	That's really cool.
	Yeah, I mean, that stuff is so important, and I really want to see other labor taking it on, too, because, like, for example, while we were on strike, we saw a Marvel show premiere that used AI to create its opening credits.
	Like, it's already being used, and it's going to come for the least unionized industries and crafts first.
	Like, within entertainment, that's VFX, that's animation to some extent.
	We just saw a bunch of VFX people at Marvel actually unionizing with Iahtzee, so people are definitely getting wise.
	People understand the threat, I think.
	Because, I mean, nobody is like, ChatGBT is gonna take my job, but it's like...
	The studios very well are going to put some garbage into AI, train it off my writing, and just not pay me for it, you know?
	So I'm glad we've headed off that exploitation.
	I think the AI was one of the biggest concerns, and there is vague enough language in there regarding training that I think we can build on in our future negotiations.
	Obviously, we're back at it in two and a half years, so...
	We'll see how things evolve.
	It's still like a new enough technology that it's like, we're still figuring out what ways can they fuck us with this, you know?
	I think every worker is like, hmm.
	So we'll see, but I'm glad that we laid this groundwork.
	I'm already seeing other unions, like for journalism and other writing related unions, Looking into the same exact language.
	I'm already seeing grad students who are unionized with UAW and AFT talking about how they need this to protect their own research and writing.
	So it's really widely applicable, which is what I'm excited about.
	Absolutely.
	And I don't think it can be overstressed that the only way to prevent the adoption of AI by, you know, your boss or the people who employ you is through union organizing.
	That is the only way to stop them.
	You have to physically stop a company From doing something like the government's not going to stop them.
	We have A.I.
	We have A.I.
	powered cars causing hours long traffic jams in San Francisco.
	I think the Bay Area, because the government just like killing people and killing people because the government just said, hey, yeah, dump your experimental technology on our streets, please.
	Like that's how desperate they are to acquiesce to the demands of the tech sector.
	And They're not going to help us.
	The only way to stop this is through brute force, which is, yeah, withhold organizing and then withholding your labor.
	Yeah, I think especially last night when Newsom vetoed the SB 799, which would have granted unemployment benefits to striking workers, just like it's done in a few other states.
	Like, I had this moment of, God, we're really never going to have them on our side, are we?
	Like, they're never going to protect us.
	They got all this tech money.
	They're getting all this big entertainment money.
	They're never going to be afraid of us.
	Unless we make them afraid.
	That's right, you know, they'll say nice things about unions, they'll say nice things about labor, but they're never gonna do it.
	Like, you have to do the thing, and then Gavin Newsom has to begrudgingly say, oh, good job, I guess.
	Fuck.
	I had a couple specific questions.
	So you as a strike captain, Teamsters, UPS Teamsters, we did not strike over our contract.
	We came to an agreement before that happened, but I just want everybody to know that I was also going to be a strike captain.
	So me and you, Olga, we're like right there together for sure.
	It's not stolen valor because you were going to do it.
	I was going to do it.
	You know, I mean, let me at him.
	So as a strike captain, does that mean you personally like orchestrated throwing rocks at Drew Barrymore?
	Oh, I wish!
	No, the WGA has had a captain system for a really long time that's just used for internal organizing purposes and is very effective.
	So when the strike hit, we kind of set up this system of Coordinators for each picketing site, which I was one of the assistant coordinators.
	And then strike captains.
	All the coordinators were also captains.
	And all we're doing is kind of leading the effort, telling people where to go, corralling people so they don't get hit by cars and things like that.
	And then, of course, we all have, like, teams who we're supposed to notify when stuff happens and, you know, check in with them.
	So, it was a lot of just, like, checking in with people, being like, are you doing okay?
	No?
	Me neither.
	So, it was mostly emotional.
	It really was, like, a lot of the emotional work was thanks to the strike captains, for sure.
	And I just want to add also, my aunt works for the Teamsters, and I'm so relieved you all did not go on strike because this family could not handle two strikes at once, I think.
	Yeah.
	That would have been a big deal, I think.
	I mean, a lot of people are saying the opposite.
	We should have all the strikes at once, and that would be great, which I'm sympathetic to that argument as well.
	I know, it actually would rule.
	I'm a general strike girlie.
	Sure.
	Yeah.
	Yeah.
	So speaking of morale, speaking of sort of the emotional support that, you know, leadership and the union had to do, how long was the strike exactly?
	About how over three months?
	Well, this is a source of controversy.
	It was 148 days and one minute.
	There's some debate over whether that should count as 149 days so that we could be the second longest strike in history instead of tied with another one.
	But yes, it was about five months.
	Wow.
	So what was other than the work that leadership, union leadership or coordinators did, what Were the more effective tactics at keeping morale up over such a long period faced with a lot of negative press, obviously?
	And then, yeah, well, let me just ask you that first.
	What were the most effective sort of resiliency tactics that you saw at play?
	I have to say, I never once saw morale waver.
	I felt like no part of me ever had to help with morale.
	Occasionally, people would be like, God, I don't know how long I can do this for.
	Then it'd be like, look, we just have to hold out a little bit longer.
	And they'd be like, you're right.
	Yeah, let's go.
	Like, really, the morale was stupendous.
	I think something that we did that a lot of people thought was very cheesy at the beginning was we were having themed pickets.
	And we would have these like celebrations of different things going on.
	So, like, I organized an X-Files day where we had, like, every X-Files writer and actor came to picket with us.
	And we'd get a lot of turnout for that.
	And a lot of times, like, that stuff ended up being very emotional.
	Because for me, for example, I thought I was the only one who was, like, I became a writer because of the X-Files.
	And I found out that day that every TV writer did.
	We had a lot of stuff like that.
	Yeah, those were viral.
	The X-Files picket went viral for sure.
	There were a lot of viral moments with, yeah, sort of celebrity writers or celebrity actors that were, you know, showing solidarity with you guys.
	Oh, yeah.
	I mean, it was just like and especially the ones who've been through multiple strikes.
	It was so nice just because they always had really good advice and they all knew what shoes you're supposed to buy early on hokas, obviously, so that your feet don't get plantar fasciitis.
	But yeah, it's morale just did not waver.
	I felt like I never had to help anyone with morale.
	You know what?
	Now, there was a general entertainment industry fund that people were donating to.
	Yeah, there were a few.
	I imagine that was fairly helpful.
	Yeah, there was the Entertainment Community Fund, which helps all entertainment workers.
	The Motion Picture Television Fund, which also helps entertainment workers.
	And then, of course, we had our Strike Fund internally, which gives zero-interest loans.
	That helped me.
	And I was going back to work, so I wasn't too worried about, you know, taking out a loan I couldn't pay back.
	We had Humanitas was giving us grocery gift cards.
	At my lot, we had our coordinator Amy Berg, who's a showrunner, organized a showrunner solidarity day after there were articles in the press about how, you know, showrunners aren't supporting the strike anymore.
	We raised like $50,000 to buy grocery gift cards.
	And then we had a crew solidarity day where we handed them all out and we were able to send people like I think everyone was able to get like 200 bucks, which, although it is a small amount, is like a good little amount to keep you going.
	That's a trip to the grocery store.
	Yeah.
	Yeah, exactly.
	So we were doing a lot of fundraising stuff like that to keep everyone going because obviously we know it doesn't just impact us.
	It doesn't just impact the actors who are still on strike.
	It impacts all the crew, all the small businesses.
	We had one showrunner on the West Side where I am in LA He sponsored free food at one of his favorite restaurants that was struggling because they get a lot of business from entertainment workers.
	So if you went with your WGA card, he was paying for it directly to the business.
	There's a lot of stuff like that.
	I was seeing GoFundMe is for local businesses for dry cleaners that are, you know, next to studio lots who do a lot of costumes work.
	Everybody just was really hyper aware of who was struggling financially, and it felt like the number one issue the entire time was, we are not going to let anybody fall out of this because they are struggling financially.
	So that was really important, I think, for morale, too.
	It is.
	So, like, I mean, this is true of any big city with, you know, a dense population.
	But I feel like with Hollywood in particular, you do, especially with this strike, with everything that you're just saying that I was I was also reading about.
	You see this sort of like busy town, Richard Scarry's busy town network or infrastructure of businesses that all rely on your labor.
	They all rely on the labor of writers, on the labor of actors, on the labor of crew members, on the labor of directors.
	Etc.
	And that's not to say that they're like a parasitic organization or anything like that, because there is a mutual benefit to it.
	And so occasionally I would see, you know, a local business frustrated about the strike, you know, and that's like one person who's going on record, yada, yada.
	And to me, I'm just like, well, all you're telling me is that you depend on these writers and actors and crew members just as much as the studios do.
	And so you have A mutual interest in seeing them be fairly compensated or have that job security.
	Because AI is not going to visit your restaurant.
	AI is not going to get their costumes cleaned through you.
	It's all going to be generated digitally.
	You do see how interconnected this sort of community is.
	No, totally.
	And I'm not going to pat myself on the back too much for this, but leading up to the strike, I was like, in L.A., a writer's and actor's strike is a general strike.
	Like in in city of L.A.
	alone, I would say probably three million people are.
	Either directly or indirectly employed by the entertainment business, if not more.
	I would say in California, I believe it's like a million people are entertainment workers directly.
	Wow.
	But it has ramifications all over the place.
	I mean, like the It's so hard to convey, but so many businesses were giving us discounts.
	We had this amazing little coffee place called Good Intentions was bringing us free coffee at my picket every week because they're like, writers buy our coffee all the time.
	We need you guys.
	We want to support you guys.
	Yeah.
	Yeah.
	So many businesses understood and everybody said, like, we get we get it.
	Like, everyone's suffering and good on you guys for fighting.
	We had so many small businesses signed on to our bill for unemployment, for striking workers, knowing that they might have to pay more if their own workers went on strike.
	So, like, it's really wild how much support we had from all of L.A.
	in general, like people bringing us food constantly from their restaurants.
	I really hope we can pay it back for a lot of these businesses, but it really sunk into me being at one of the Unite Here 11 pickets at the Fairmont Century Plaza, which is next door to the Fox lot.
	That hotel is used by productions to keep talent there.
	We have SEIU janitors working on studio lots.
	We have OPEIU covers many studio employees.
	And it's just, I realized, oh my god, we have so much power, especially as unions and entertainment.
	I'm so grateful that we're in such a union-dense industry.
	It's the Teamsters.
	Oh my god, IATSE.
	It never ends.
	Yeah, being a union member of this generation, when you get a taste of, what's the word I'm looking for, like vigor?
	Solidarity?
	Well, solidarity, but like the excitement.
	You get a taste of the empowerment.
	The Norma Rae vibes.
	Yeah, and it's it's like you can only of this generation with this current strike wave that we're seeing is a very powerful thing.
	But it's it's only a taste of what actually happened to create these unions in the first place.
	It's only a small fragment of the power that was exerted by our forefathers and foremothers in the in the labor movement.
	And so I there's there's a long way to go.
	We can get more of this like we can Push this even farther.
	History has shown that we can we can go all the way to the top with this.
	So very, very exciting.
	And yeah, just as a modern union member, it's just you're standing on the shoulders of giants, people who formed these unions for us to then be able to use.
	Like using them is one thing, but like bringing them up out of nothing is just an indescribable feat.
	And we are seeing that in modern times.
	We are seeing the formation of new unions.
	We're seeing unions expand into sectors that they like the food service industry that they normal that they had in the past.
	And so just, yeah, all in all, very exciting time, although I can't help but wonder what we might have had with if you guys didn't get this win from the studios.
	You know, I've been watching this really fascinating program on Twitter that's completely AI and it's called Princess Jane.
	Have you have you seen this?
	I've seen a lot of like the Family Guy ones, the Seinfeld ones.
	Is it one of those?
	Uh, no, this is an entirely new character.
	I think it was created, written, designed all by AI.
	This guy named Rufus 87078959 who's... Oh, you know with all the numbers that means like it's going to be really good.
	He's a member of the AI Accelerator Institute.
	So let's see.
	Let's see Princess Jane and let's I mean, just listen to Princess Jane and then imagine Olga taking a hammer to her kneecaps, because that is essentially what happened in this agreement.
	Hello friends, I'm Princess Jane and I love you all.
	Today I'll give you a tour of my breathtaking castle.
	I'll show you the glittering ballroom, my favorite crystal tower, and more wonders within.
	I'm ready for episode two.
	Please, Netflix, pick this up.
	This is where my brain goes if I take like a lethal dose of mushroom.
	I love that you can barely even hear the text over the sound, over the fireworks sound.
	That's what I was thinking because, funny enough, people have always been worried that sound mixing or sound editing were going to be some of the careers that were replaced by AI.
	And watching this, I'm like, we cannot let them take the sound people.
	Yeah, amazing.
	It's a dead-eyed Bratz doll staring straight into the camera saying, I love you all.
	So if ever you thought maybe a movie could be written by a Teddy Ruxpin, I'm sorry, you're out of luck.
	Olga has seen to it.
	Olga has defenestrated Princess Jane, thrown her out to be one of the commoners.
	I ripped her wig off as I threw her out the window.
	My last question to you, Olga, thanks so much for joining us today.
	My last question comes via NPR, and this is I think maybe the most important question that we've talked about here.
	Olga, what did you or union leadership What did you say to the corporations, to the studios, to finally convince them to see reason?
	What sort of well-balanced argument did you present verbally, you know, maybe with a slideshow or you had a headset mic when you were talking to them or something like that, to get them to finally see that workers are good and workers have rights?
	You know, funny enough, one of our negotiating committee co-chairs, Chris Kaiser, who a lot of us fondly call Rabbi Kaiser because he kind of just talks like a rabbi giving a sermon, and he's very inspirational, but he does a lot of speeches.
	We were told at our membership meeting that at one point, one of the people in the room said, enough with the speeches, Chris Kaiser.
	We know that you want us to do this.
	You don't have to keep telling us what the right thing to do is.
	So I like to think it was his speeches.
	Yeah, fascinating glimpse into the mind of an NPR reporter of like, what rhetorical device did you use to convince the studios after after witnessing a five month long strike?
	I mean, it kind of is the ultimate, like, centrist, liberal perspective that they just had to, you know, go back to the table and use some reason, you know?
	It had nothing to do with the fact that they knew we were about to start throwing bricks, but... Yeah, it's like, we should just give the studios a chance to do the right thing, you know?
	And I think they might surprise us.
	Yeah, yeah.
	Yeah, I think it's very funny.
	I think obviously it was the five months long direct action, the crippling of the studio's pocketbooks that got them to, quote, see reason.
	By reason, we mean their material interests.
	I know.
	And shout out to Molly Levinson, Crisis PR, who the studio's hired to put all these wild articles out to make themselves look good.
	I'm so happy for you guys.
	I'm glad you got a contract.
	I'm optimistic for the future of scripted television or streaming or, you know, movies.
	And I did particularly enjoy the way that this strike Detail just how monstrous studio executives are just how horrible they are.
	And I don't mean that in a personal sense.
	I mean that in a categorical sense.
	I mean that as a category as as a job description.
	To be a studio executive, you have to be a monster.
	And I'm glad that we saw that on display with, you know, direct quotes from Zaslav and other of these ghouls who were willing to make people homeless to ensure that they didn't have to pay them residuals.
	And you know, I do want to add something because these CEOs are so removed, even from the executives of their own studios, because obviously there's executives at lower tiers.
	There's junior executives.
	Many of my friends are like, you know, VP and below executives at these companies.
	And all of those people were on our side this whole time.
	So I think the fact that they couldn't even get their own studio employees to support them says a lot about the kind of leaders that they are.
	Because I think a lot of the studio execs who work under these huge CEOs who, you know, are paid hundreds of millions of dollars while junior execs are making like 40k a year in Los Angeles.
	I think they realized, oh my god, we have way more in common with the writers than we have with Bob Iger.
	Yeah, there was one blind interview.
	I'm not sure if that's the correct term.
	There was one anonymous interview, sort of long form, and I'm trying to remember what outlet it was in, Daily Beast maybe, where it was an executive, but I think they were a lower level executive, who was just answering questions honestly about
	The future of the industry and the way that the CEOs see this fight and somebody who was who didn't have any loyalty to the studios, but still was in a position.
	Contrary to labor, contrary to the the writers and actors and could kind of see both sides and laid out one of the best examples I've ever seen of The how material interests oppose each other.
	It's not that executives are bad people, even though I think they are bad people.
	It's not that.
	It's not that workers are good people.
	It's just they have material interests that are opposed to each other.
	It's a zero sum game and executives are going to play it like it's a zero sum game.
	They're going to play it like every win for the worker is a loss For the shareholders is a loss for the studio execs.
	Yeah, really good impersonal argument about the decisions that capital makes.
	All right.
	Well, thank you so much, Olga, for joining us, for letting people in into the details of this.
	Do you want to send people anywhere?
	Do you want to get some work?
	Do you want people to check out?
	God, I'm not on Twitter anymore because it sucks.
	I'm on Blue Sky if anyone actually goes there.
	You can find me at runolgarun.
	Okay.
	I used to go on Blue Sky for like three days and then I got extremely bored with it.
	But maybe it's better now.
	I'll have to check in.
	It's growing.
	Cool.
	All right.
	Well, thanks again, Olga.
	Yeah, thanks for having me.
	Solidarity, congratulations to the writers.
	Hell yeah.
	All right, thanks again to Olga for sharing some details of what made such a long strike possible and effective.
	Very interesting stuff I learned from that interview.
	So yeah, very gracious of her to share that with us.
	And also thank you to Carter for setting up the interview.
	Really appreciate that, buddy.
	More episodes at patreon.com slash MinionDeathCult.
	Two bonus episodes every week.
	Lots of good stuff over there.
	Including the series Black.
	Period.
	White.
	Period.
	The race swapping reality show from Ice Cube in like 2006.
	We're watching that.
	We're on episodes two and three this week.
	Fantastic stuff, I must say.
	Yeah, go over to the Patreon.
	Sign up and get those episodes in your podcast.
	You can also watch the video live.
	Well, not anymore.
	It was already recorded.
	You can watch upcoming streams live, but you can watch the old ones not live.
	Still good.

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