Trending Lounge Discussions

So the $1 billion deal between Disney and OpenAI is...dead. Sora, the generative video tool that was supposed to change everything, is being shut down. And according to this Deadline piece (https://deadline.com/2026/03/disney-openai-death-hollywood-vulnerable-12...), it exposes how vulnerable Hollywood really is to big tech's whims.

Here's what happened: Disney had been betting big on OpenAI—licensing characters, building tools, basically saying "if you can't beat them, join them." Now that partnership is gone, and Disney's left scrambling. I also wonder what this actually signals. Did OpenAI get everything they needed from Sora and just walk away? Or did Disney pull the plug after realizing they were handing over their crown jewels?

And now I'm thinking about Netflix and Ben Affleck's new AI venture they announced recently. How does that move forward now that one AI soldier has fallen? Does this give other studios pause, or do they double down on their own partnerships?

For creatives, this is worth watching. The Disney-OpenAI deal was seen as a potential template for how studios and AI companies could work together fairly, with proper licensing and protections. Without it, we're back to uncertainty. The article quotes an advisor saying part of the problem is getting "artsy people and the techie people to talk." That divide just got wider.

The podcast space has been a bright spot—more accessible, more creator-friendly, less dependent on these massive corporate deals. But as AI keeps evolving, the question for filmmakers is: do we treat it as a tool or a threat? And how do we make sure our voices aren't lost in whatever comes next?

Selling a TV show is not easy. As a writer with no credits, it’s very unlikely that you will sell a series right now. That being said, staffing (while not easy) is still a very real possibility, and a great way to get your career going while learning how a writers’ room works. The other huge plus of staffing is that, after you’ve been in some rooms, producers and buyers will be more open to you buying from you.

Whenever I talk to a new writer interested in staffing, I generally ask the same questions, so I thought’s I’d put them here just to get the gears turning in everyone’s heads.

1. Can you move to LA (or maybe NY but mostly LA)? If uprooting your life to move is not in the cards for you, don’t write TV. Focus on movies.

2. What is the right show or shows for you to staff on? Which current shows would you kick ass on, and why? If you were talking to a showrunner, would you be able to speak the language of that show, and make them see why you’d be an asset to the room? Make sure your answer is a realistic one. You’re not going to write on a show that is no longer running, or a show where the creator writes every episode.

3. Do you have the right sample for that show? I’ve met writers who’ll tell you the show they think is best for them, but their samples say otherwise. If you want to write on a hard funny, single cam comedy, and all your samples are hourlong procedurals…well you know what your next sample should be.

I would suggest answering these questions for yourself, and always being aware of the new shows that are coming. That way, you and your reps can properly choose which pieces of material to work on next.

As always, happy to answer any questions.

"Disney has already signaled plans to increase its investment in content by another $1 billion, reinforcing something we’re seeing across the entire industry right now…" Great news and consistent with the return to steady industry output.

Extolling its advantage in content creation, library, franchises and experiences Josh D'Amaro details to staff they are poised for growth.

Again, good confirmation from the top that the demand and competition for entertainment product is strong and returning to normal levels following a prolonged retrenchment of uncertainty. All signals pointing to expansion of opportunity.

https://www.hollywoodreporter.com/business/digital/disney-plus-digital-c...

Hello everyone,

My name is Lashon Hunter, and I’m a Michigan-based writer from the Detroit/Warren area. I’ve been writing since high school and have a passion for character-driven stories that explore resilience, personal growth, and the consequences of life-changing decisions.

I’m a contributing author to the collaborative book Hersonality Traits, and on June 9, 2021, I received Writers Guild of America West registration along with a Professional Screenwriter certificate from the Coach John Alexander Screenwriting Academy Masterclass.

My original fictional book Choices & Consequences was officially selected on FilmFreeway and is currently being developed into a feature film, with plans for a two-film story including Choices & Consequences: The Price of Peace.

I’m currently looking to connect with independent directors, producers, and filmmakers interested in collaboration. I’m also interested in assisting in directing or producing, as I want to stay creatively involved in bringing my stories to life.

I’m excited to connect, learn, and collaborate with other creatives here on Stage 32.

Lashon Hunter

if you were given a role as lead actor/actress for a franchise film with +2 films following it but the role played against you.

their are many ways a character plays against you that you should be aware of.

In acting, when a character plays against you, it usually means there is a fundamental mismatch between your natural personality and the role's requirements. Here are the most common ways this happens:

1. Opposing Values or Morals

The character’s beliefs or actions might be the complete opposite of your own. If you are a kind person playing a villain, the character’s choices might feel unnatural or wrong to you. The challenge is to find the character's internal justification so you can play them without judging them.

2. Personality and Physical Mismatch

This is often called being cast against type. If you are naturally high-energy and talkative, but the character is stoic and silent, the role is playing against your natural instincts. You have to consciously suppress your own mannerisms to adopt the character's physical presence.

3. Playing Against the Text

Sometimes a director asks you to play against the literal words in the script. For example, if the script says I hate you, you might be told to play it with underlying love or sadness. This creates subtext, making the performance feel more layered and realistic because people rarely say exactly what they feel.

4. Psychological Friction

If a character is particularly dark or traumatized, the role can feel like it is working against your own mental well-being. This requires a clear boundary between yourself and the role to ensure the character's headspace doesn't bleed into your real life.

now if you were put in one or more of these situations how would you act.

Hi Everyone!

I wanted to take a moment to (re)introduce myself here in the community, I’m Ashley Smith, Head of Community at Stage 32. I have the privilege of working closely with our members every day to help you connect, learn, and find opportunities to move your creative goals forward.

If you’re new here, welcome! And if you’ve been part of the community for a while, I’m so glad you’re here.

We’re hosting our Community Open House today, and I thought this would be a great space to keep the conversation going. Whether you’re just getting started or looking to take your next step, I’m here to help.

If you have any questions about:

How to navigate the platform

How to make the most of the Lounges

Education, events, or the Writer’s Room

Script Services or pitching opportunities

Or anything else related to Stage 32

Drop your questions here!

No question is too small, and if you’re wondering about something, chances are someone else is too.

Looking forward to connecting with you all and helping you get the most out of your time here on Stage 32.