According to multiple media reports, Chase died after complications from meningitis and a serious blood infection that progressed to sepsis. Hernandez said she had been hospitalized in Los Angeles earlier this month after suffering from malnutrition and that her condition deteriorated rapidly in recent weeks.

For millions of fans, Chase will forever be remembered as the voice of Lilo Pelekai in Disney’s 2002 animated hit Lilo & Stitch. The film became a worldwide success and remains one of Disney’s most beloved modern animated features. Chase continued voicing the character in sequels and television adaptations, helping establish Lilo as one of the studio’s most recognizable young protagonists.

That same year, Chase delivered another performance that would define her career. In the American horror film The Ring, she portrayed Samara Morgan, the ghostly child whose terrifying appearance became one of the most iconic images in modern horror cinema. Her performance earned widespread praise and helped make the film a box office success. The role later earned her an MTV Movie Award for Best Villain.

Born July 24, 1990, in Las Vegas, Nevada, Chase entered the entertainment industry at a young age. In addition to her work in Lilo & Stitch and The Ring, she provided the English-language voice of Chihiro in the acclaimed animated film Spirited Away. She also appeared in several television series and films, including Donnie Darko, ER, Sabrina the Teenage Witch, and HBO’s Big Love, where she played Rhonda Volmer in a recurring role spanning multiple seasons.

While her early career was marked by significant success, reports indicate that Chase faced numerous personal challenges later in life. Hernandez described a difficult childhood, estrangement from family members, and struggles finding stability after her years as a child star. A fundraising campaign launched before her death sought assistance during her medical crisis and highlighted the hardships she endured in recent years.

The news of Chase’s death has sparked an outpouring of tributes across social media, with fans remembering both the warmth she brought to the character of Lilo and the chilling impact of her portrayal of Samara. For many millennials who grew up in the early 2000s, her performances became defining parts of their childhood movie experiences.

Although her life was marked by both remarkable success and personal struggles, Daveigh Chase leaves behind a legacy that continues to resonate with audiences around the world. Her work helped shape some of the most memorable films of her generation, ensuring that her performances will continue to be discovered and appreciated by future audiences.

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While the former Hollywood mogul has been convicted of other sex crimes on two U.S. coasts and remains behind bars, the mistrial leaves the New York rape charge in limbo. Weinstein appeared expressionless as court officers ushered him out in his wheelchair.

The majority-male Manhattan jury had been weighing whether Weinstein raped Jessica Mann, a hairstylist and actor. Weinstein’s lawyers argued that the encounter was consensual. It happened in 2013 during a fraught relationship between the then-married Weinstein and the decades-younger Mann.

A juror, Josh Hadar, told reporters that he and eight others wanted to acquit Weinstein. He said Mann had an “incredible memory” when she testified for the prosecution but “forgot a lot of things” when questioned by defense attorneys.

Weinstein’s defense lawyer Marc Agnifilo called it “a great day for our jury system.”

Juror Sarae Perez, 25, said the threshold for a conviction — beyond a reasonable doubt — was on her mind.

“There were places where we couldn’t trust her word for it,” she said.

Mann said in a statement that the mistrial “doesn’t in any way detract from the truth I told.” She said she relived painful moments and faced public attacks while seeking justice because “the power of predators remains too great.”

No immediate decision about a fourth trial

Signs of a split jury emerged a few hours into their third day of deliberations, when they sent a note saying they couldn’t reach a unanimous verdict. Judge Curtis Farber told them to keep trying, a common step when a jury first says it’s stuck.

More than an hour later, they sent another note saying: “We feel that no one is going to change where they stand.”

A hearing was set for June 24 to learn whether prosecutors will choose to go to a fourth trial. District Attorney Alvin Bragg said he was disappointed with the result but “we deeply respect the jury system.”

Bragg said his staff will consult Mann about another trial and also take into account what happens to Weinstein when he’s sentenced in another case. Mann was not in court when the mistrial was declared.

How the case returned for a third trial

As an Oscar-winning movie producer and studio boss, Weinstein was one of Hollywood’s most powerful figures and a significant Democratic donor before the long-suppressed sexual harassment and sexual assault allegations against him cascaded into public view in 2017. The revelations galvanized the #MeToo movement ’s demands for accountability for sexual misconduct, made Weinstein a pariah, bankrupted the studio and ultimately led to criminal charges against him in New York and Los Angeles.

He was convicted of some and acquitted of others. Yet Mann’s allegation lingered. Weinstein was convicted of the charge in 2020. Then an appeals court overturned that verdict, and jury deliberations broke down at a 2025 retrial. That paved the way for this year’s retrial.

Weinstein has said he was unfaithful to his then-wife and “acted wrongly, but I never assaulted anyone.”

Jury heard from Weinstein’s accuser

Mann, now 40, met Weinstein at a Los Angeles party in early 2013, when she hoped to build a handful of acting credits into a big career. He took interest and soon showed that it wasn’t purely professional.

She said his initial, pushy overtures discomfited her, but she acceded to them and decided to develop a relationship with him.

She was staying with a friend at a Manhattan hotel in March 2013 when Weinstein showed up early for a planned breakfast and got a room over her objections, Mann testified. She said she accompanied Weinstein to the room to talk and made it clear she didn’t want sex.

“I said ‘no,’ over and over, and I tried to leave,” she told jurors during five days of intense testimony.

She said that Weinstein blocked her from leaving and grabbed her arms. Scared, she gave up protesting, complied with his demands to undress, and laid on a bed while he went into a bathroom, she told jurors. Then, Mann said, he raped her.

Mann told no one for years about the alleged rape. Nor did she mention it in her introspective, private writing two days later. In a note to herself, she grappled with conflicted feelings about becoming “emotionally attached” in a nonexclusive relationship with a man she didn’t name.

After Weinstein’s new lawyers confronted Mann with the note, she said she hadn’t needed to write down the allegation.

The Associated Press does not identify people who say they have been sexually assaulted, unless they choose to make their names public, as Mann has done.

Weinstein defense: Mann was supportive

Weinstein didn’t testify. In his lawyers’ telling, Mann was a willing partner in a close, supportive relationship with a show-business insider who opened doors for her, but she turned on him once he became an outcast.

In the months and years after the New York encounter, Mann kept seeing and communicating with Weinstein.

At times, she pulled away to pursue and preserve a relationship with a new boyfriend, according to her emails and testimony. At other times, she turned back to Weinstein, who validated her acting dreams, told her he was proud of her and responded caringly when her father was terminally ill.

“I love u. Anything u need,” Weinstein wrote.

Over the years, he helped Mann land a movie audition — it went nowhere — and a hairstyling job. She asked him for help with such things as a car problem and a club membership, though she declined a package his office tried to send in summer 2013, when she couldn’t make rent. Mann said she understood the envelope contained $1,000 in cash.

In one of her last emails to Weinstein, in February 2017, she wrote: “I love you, always do. But I hate feeling like a booty call.” When he responded by suggesting she was “joking” and should stop using his company email, she said it was a joke and apologized.

Eight months later, she saw the news reports that propelled his downfall and ultimately prompted her to go to police.

Mann never sued Weinstein, but after his 2020 conviction, she filed for and got about $500,000 from a sexual misconduct settlement fund set up during his company’s bankruptcy. The payout was mentioned at last year’s retrial, but the defense didn’t raise it this time after extensive arguments about what could and couldn’t be said.

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A photograph, part of the trove of files released Friday in the Department of Justice’s investigation into Epstein, shows Ratner sitting on a couch with his arms wrapped around a woman, whose identity is concealed. She is sitting next to Epstein and a second woman, who is also redacted in the photo and is sitting at the far end of the couch next to the disgraced financier. It is unclear where the photo was taken or when.

The filmmaker is among several prominent individuals from the worlds of entertainment, technology, politics and business — including L.A. Olympics boss Casey Wasserman — who have turned up among the millions of files that the Justice Department has released.Epstein died by suicide in 2019 in Manhattan Correctional Center while awaiting trial on sex trafficking charges.

Ratner’s name also surfaces in a number of emails contained in the released files in which Epstein discusses his attempts to connect with the director and descriptions in which their social circles overlap.

It is not the first time Ratner turned up in Epstein’s orbit. In December, his photo appeared in an earlier batch of files the department released.

In the undated photograph, Ratner is seen seated, hugging a shirtless Jean-Luc Brunel, a French modeling agent and an Epstein associate.

Brunel died of an apparent suicide in 2022 in a French prison while awaiting trial on charges that he had raped a minor.

Ratner has not been accused of any wrongdoing in connection with Epstein.

A spokesperson for the director did not immediately respond to a request for comment.

During a Monday appearance on “Piers Morgan Uncensored,” Ratner said that the recently released photograph was taken about 20 years ago. He said that the woman he is hugging was his then-fiancée, whom he declined to name, and that she had invited him to an event where the picture was taken.

“I’ve never been in contact with Jeffrey Epstein before that photo and never in contact with him after,” he said on the show.

Among the emails in which Ratner is mentioned, in December 2010, Epstein discusses a dinner he is having at “7:30” in which he says that he has invited Ratner but has not yet heard back.

In December 2010, it was widely reported that Epstein hosted a dinner at his Manhattan townhouse just months after he finished serving a prison sentence and house arrest for soliciting a minor for prostitution. The dinner was attended by a number of boldfaced names including Woody Allen and Andrew Mountbatten-Windsor, formerly Prince Andrew.

A year later, Epstein’s assistant appears to email Ratner saying, “Jeffrey would like to speak with you regarding [redacted] could you please give us a call.” It is unclear whether Ratner followed up.

In another heavily redacted email from 2018, Epstein writes to someone saying: “Hi I’m Jeffrey. brett Ratner thought we should meet.” He follows up with a second email asking whether Ratner had spoken to this person yet.

During the Cannes film festival in 2012, celebrity superpublicist and ubiquitous presence on the awards circuit Peggy Siegal emailed Epstein that she was sitting with Ratner about to watch a Roman Polanski documentary, adding that “Brett says ‘hi’ and he loves you!”

In other gossipy emails Siegal sent to Epstein, she cites Ratner in her listing of which power brokers and celebrities are in attendance at various parties and who is staying on whose yacht in St. Barts (Ratner, she wrote, was staying with his business partner, the Australian billionaire James Packer).

Siegal’s relationship with the convicted pedophile came under renewed scrutiny in 2019 after Epstein was arrested on sex trafficking charges, particularly as she helped facilitate his return to society following his prison sentence.

“Had I known that he had been accused of abusing underage girls, I would not have maintained a friendship with him,” she told the Hollywood Reporter.

Siegal could not be immediately reached for comment.

On Nov. 1, 2017 — the day The Times published its investigation in which six women accused Ratner of sexual misconduct — Epstein emailed lawyer Reid Weingarten: “brett ratner now oy.”

Ratner’s career was derailed nine years ago after The Times published detailed allegations against the director made by multiple women who accused him of harassment, groping and forced oral sex. Actor Olivia Munn claimed that Ratner masturbated in front of her when she delivered a meal to his trailer on the set of the 2004 film “After the Sunset.”

At the time, the director’s attorney Martin Singer rejected the women’s claims, saying that his client “vehemently denies the outrageous derogatory allegations that have been reported about him.”

Ratner’s agents at WME dropped him, as did his publicist, and projects were put on hold. Ratner parted ways with Warner Bros.

“I don’t want to have any possible negative impact to the studio until these personal issues are resolved,” he said in a statement.

In 2020, Ratner became embroiled in another Hollywood sex scandal, involving British actor Charlotte Kirk.

In a sworn court declaration, Kirk said she was victimized by then-Warner Bros. Chief Executive Kevin Tsujihara, Ratner, Packer and Millennium Films CEO Avi Lerner, stating that the men “coerced me into engaging in ‘commercial sex’ for them and their business associates.”

Singer, who represented the men, “categorically and vehemently” denied any wrongdoing on the part of his clients.

“Melania” is the first film Ratner has directed since he was largely exiled from Hollywood. The documentary has received harsh reviews from critics, who have also questioned the $75 million Amazon paid to distribute and market the movie. However, during its opening weekend, it grossed a better-than-expected $7.1 million at the box office.

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The Bennett Estate—An empire! A testament to a life lived in the limelight, the estate is vast, comprising multi-million-dollar properties, lucrative royalties from film and music, and an art collection that would make even the most seasoned connoisseur envious. But it’s more than just wealth; it’s a complex web of investments, trusts, and intellectual property. The Tony Bennett was not only a household name but also a shrewd businessman who built an empire. But as the old saying goes, “With great power comes great responsibility”—and, in this case, a heap of legal trouble.

When the Tony died, he left behind not just a fortune but also a family on the brink of war. The Bennett daughters felt betrayed and sidelined, thus, filing a lawsuit against their brother, accusing him of mismanagement and breaches of fiduciary duty. They claim that their brother, who was entrusted as the executor of the estate, failed in his duty to protect the family’s legacy. Instead of safeguarding the assets, the girls alleged he siphoned funds, made questionable investments, and prioritized his interests over theirs. The lawsuit has turned into a highly publicized battle, with accusations flying and the media watching every move.

Now, let’s zoom out for a moment. The Bennett case is not unique to celeb’s. In fact, this fact pattern is one common among may families across all socioeconomic classes. But, its fun to talk about celebrities, so lets keep the limelight on them, and not us. The Bennett feud is just one example in a long line of celebrity estate disputes that have captured public attention. Celebrity estates are notoriously tricky—just ask the families of Prince, Aretha Franklin, or James Brown. Will contests, trust disputes, and questions about the role of executors and trustees are all too common. Executors and trustees have immense power, and with that power comes the potential for conflict. When a high-profile individual passes away, the vultures circle. But sometimes, the vultures aren’t outsiders—they’re family.

It’s often said that death brings out the best and the worst in people. And when money is involved—especially vast sums of it—the worst can be pretty bad. Add in grief, mourning, anger, rage, sadness and all of the feels… it’s a setup for disaster that can lead to irreparable damage among family relationships. Siblings who once played together, shared secrets, and supported each other through thick and thin can find themselves on opposite sides of a courtroom, locked in a bitter, public, and painful legal battle. To this, the Bennett’s are no different. The loss, grief, money and allegations left the family bonds strained and broken. What was once a tight-knit family has been shattered by greed, mistrust, and resentment.

So, how can such disputes be avoided? The key lies in foresight. Clear, unambiguous wills and regular updates to estate plans can prevent much of the confusion that leads to conflict. It’s also crucial to choose impartial executors—someone who won’t play favorites, who will act in the best interests of all parties involved. In some cases, it might even be wise to appoint a professional executor, someone with no personal stake in the estate.

Now, let’s get to the bottom line: the cost-benefit analysis. Estate disputes are expensive—not just in terms of money but also in time, energy, and emotional well-being. Litigation can drag on for years, draining the estate’s assets and leaving everyone involved exhausted. In contrast, settlement and Alternative Dispute Resolution (ADR) options like mediation can be far more cost-effective and quicker. ADR offers a way to resolve disputes outside the courtroom, preserving family relationships and saving everyone a heap of money.

And here’s the kicker, As one lawyer famously quipped, “Why is it that the people who inherit a fortune always seem to end up needing one to settle the fight over it?” It’s funny because it’s true—and it’s a reminder of just how costly these battles can be.

The Bennett Estate serves as a cautionary tale. It reminds us of the importance of careful estate planning, the dangers of mismanagement, and the devastating impact that financial disputes can have on families. By taking proactive steps, families can avoid the heartbreak of a public feud and ensure that their loved ones’ legacies are preserved—not torn apart.

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The abnormal scarcity — compounded by the region’s long-running underproduction of housing — emerged when homeowners chose not to sell and give up pandemic-era mortgage rates. The so-called seller strike helped pushed home values to new records, despite rising borrowing costs.

Now the inventory picture might be changing.

“It’s getting a little bit better,” said Eneida Contreras, a Compass real estate agent who specializes in the San Fernando, Santa Clarita and Antelope valleys.

In April, the number of homes listed for sale in most Southern California counties rose from the same month a year earlier, according to data from Zillow.

Los Angeles, Riverside, San Bernardino and Ventura counties turned positive for the first time since the first half of 2023, each recording an increase of at least 5%.

Orange was the only county to see a decline, while in San Diego, inventory has risen for two consecutive months and is 18% above what it was a year ago.

To be sure, the availability of homes remains at historically low levels. But as it rises, it opens the possibility that prospective buyers will have an easier time making the largest purchase of their lives.

Jordan Levine, chief economist with the California Assn. of Realtors, said more homes are coming onto the market because owners are increasingly accepting that the new normal is interest rates in the 6%-7% range.

As people get married, divorced and have children, the “benefit of the low rate starts to be outweighed by having a house that doesn’t work,” Levine said. “Ultimately, these are people’s homes, too, and they are not just straight-up investments.”

Levine said he expects inventory levels to increase and home prices to be lower than they would have been if inventory continued to shrink. However, he and other experts said home prices are unlikely to decline. That’s because though more owners are coming to terms with high rates, many will likely choose to keep their sub-4% mortgages — a phenomenon known as the lock-in effect.

Other factors are at play. The economy is growing, and while most Southern California households can’t afford to buy, there’s a sizable population of techies, Hollywood types and other white-collar workers who can funnel excess cash into large down payments that offset high mortgage rates.

“The current level of inventory rise — which is a little bit, but not a lot — is likely to slow price appreciation but not turn it negative,” said Mike Simonsen, founder of Altos Research, a real estate data firm.

The rise in inventory is providing opportunities for buyers with means, but the market is still tough.

Interest rates are above 7%, and even if home prices rise at a slower pace, they will set records.

In Los Angeles County, the average home price in April was $890,516, an increase of 1.4% from March and surpassing the previous record, set in June 2022.

The six-county Southern California region climbed above its 2022 average home price record in March. It set another all-time high last month, reaching $875,388.

If mortgage rates noticeably decline, the lock-in effect could lessen and bring more homes onto the market. Falling mortgage rates would also immediately make housing more affordable.

Whether falling rates provide much relief is another question. Lower borrowing costs may bring a flood of additional buyers who quickly gobble up new listings and supercharge price growth.

“Building more housing is really what is going to break that cycle,” said Nicole Bachaud, a senior economist with Zillow.

According to the latest forecast from the Mortgage Bankers Assn., rates will remain high but will drop to 6.4% by the end of 2024.

Carol Otero of Rodeo Realty is among the Los Angeles agents seeing an increase in inventory. She estimated that the number of homes for sale in some San Fernando Valley neighborhoods has at least doubled in the past few weeks.

Buyers are eager.

Last Friday, Otero listed a four-bedroom home in Northridge. She said she has received six offers, all above the $869,000 asking price.

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LOS ANGELES (AP) — Hollywood’s actors union reached a tentative deal with studios Wednesday to end its strike and months of labor strife that ground the film and television industries to a historic halt.

The three-year contract must be approved by votes from the board of the Screen Actors Guild-American Federation of Television and Radio Artists and its members in the coming days, but the leadership declared that the strike will end at 12:01 a.m. on Thursday.

“We have arrived at a contract that will enable SAG-AFTRA members from every category to build sustainable careers,” the union said in a statement. “Many thousands of performers now and into the future will benefit from this work.”

At nearly four months, it was by far the longest strike ever for film and television actors.

More than 60,000 SAG-AFTRA members went on strike July 14, joining screenwriters who had walked off the job more than two months earlier. It was the first time the two unions had been on strike together since 1960. The studios and writers reached a dealt that brought their strike to an end on Sept. 26.

The terms of the agreement were not immediately released. The union called it a billion-dollar deal and said details would be made public after a meeting on Friday where board members review the contract. Issues on the table included both short-term compensation and future royalty payments for film and TV performances, along with control over actors’ images and likenesses regenerated with artificial intelligence.

“This tentative agreement represents a new paradigm. It gives SAG-AFTRA the biggest contract-on-contract gains in the history of the union, including the largest increase in minimum wages in the last forty years; a brand new residual for streaming programs; extensive consent and compensation protections in the use of artificial intelligence; and sizable contract increases on items across the board,” the Alliance of Motion Picture and Television Producers said in a statement Wednesday evening. The organization, which negotiates on behalf of major studios and streaming companies, said it “looks forward to the industry resuming the work of telling great stories.”

Executives from top entertainment companies including Disney, Netflix, Warner Bros. Discovery and Universal had a direct hand in negotiations.

The Writers Guild of America applauded Wednesday’s deal. “We’re thrilled to see SAG-AFTRA members win a contract that creates new protections for performers and gives them a greater share of the immense value they create,” the union said in a statement. “When workers are united, they win!”

Although the writers strike had immediate, visible effects for viewers, including the months-long suspension of late-night talk shows and “ Saturday Night Live,” the impact of the actors’ absence was not as immediately apparent. But its ripple effects — delayed release dates and waits for new show seasons — could be felt for months or even years.

Actors should quickly return to movie sets where productions were paused, including “Deadpool 3,” “Gladiator 2” and “Wicked.” Other movies and shows will restart shooting once returning writers finish scripts.

And beyond scripted productions, the end of the strike allows actors to return to red carpets, talk shows and podcasts, as Hollywood’s awards season approaches.

“The SAG strike is over!! I can finally say it: watch my documentary Saturday night at 8 on HBO/MAX!” actor-director Albert Brooks said on social media moments after the strike ended. “Couldn’t say a word until now!!”

The only major awards show directly effected by the strike was the Emmys, which was moved from September to January. Now, the usual fall Oscar campaigns will mobilize.

But any feeling of industry normalcy could prove temporary. The circumstances that brought on the strikes — the shift from traditional theatrical and broadcast media to streaming, and emerging tech like AI — have not been slowed. And the gains made by the strikes may embolden other Hollywood unions, or these same guilds in negotiations that will come up again in just a few years.

Union leaders treated the strike like a watershed moment from the start, coming as it did amid wider labor fights in other industries.

“I think it’s a conversation now about the culture of big business, and how it treats everybody up and down the ladder in the name of profit,” SAG-AFTRA President and “The Nanny” star Fran Drescher told The Associated Press in an August interview.

Duncan Crabtree-Ireland, the executive director and chief negotiator who led the team that struck the deal for the guild, told the AP in August that he was “honored to be part of making sure that our members get a fair contract that’s going to protect them going into the future and make sure that the 14-year-olds I talked to on the Disney picket line still have the ability to be an actor when they turn 18.”

The agreement also means a return to sets for thousands of film crew members who have left with nothing to work on during the strikes. SAG-AFTRA sought to offset their hardship by allowing sometimes controversial interim agreements for some smaller productions to proceed, and by making their strike relief fund available to all workers in the industry.

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LOS ANGELES (AP) — While screenwriters are busy back at work, film and TV actors remain on picket lines, with the longest strike in their history set to hit 100 days on Saturday after talks broke off with studios. Here’s a look at where things stand, how their stretched-out standoff compares to past strikes, and what happens next.

INSIDE THE ACTORS-STUDIO TALKS THAT FAILED

Hopes were high and leaders of the Screen Actors Guild-American Federation of Television and Radio Artists were cautiously optimistic when they resumed negotiations on Oct. 2 for the first time since the strike began 2 1/2 months earlier.

The same group of chief executives from the biggest studios had made a major deal just over a week earlier with striking writers, whose leaders celebrated their gains on many issues actors are also fighting for: long-term pay, consistency of employment and control over the use of artificial intelligence.

But the actors’ talks were tepid, with days off between sessions and no reports of progress. Then studios abruptly ended them on Oct. 11, saying the actors’ demands were exorbitantly expensive and the two sides were too far apart to continue.

“We only met with them a couple of times, Monday, half a day Wednesday, half a day Friday. That was what they were available for,” SAG-AFTRA President Fran Drescher told The Associated Press soon after the talks broke off. “Then this past week, it was Monday and a half a day on Wednesday. And then “Bye bye. I’ve never really met people that actually don’t understand what negotiations mean. Why are you walking away from the table?”

The reasons, according to the Alliance of Motion Picture and Television Producers, included a union demand for a fee for each subscriber to streaming services.

“SAG-AFTRA gave the member companies an ultimatum: either agree to a proposal for a tax on subscribers as well as all other open items, or else the strike would continue,” the AMPTP said in a statement to the AP. “The member companies responded to SAG-AFTRA’s ultimatum that unfortunately, the tax on subscribers poses an untenable economic burden.”

Netflix co-CEO Ted Sarandos, one of the executives in on the bargaining sessions, told investors on an earnings call Wednesday that “This really broke our momentum unfortunately.”

SAG-AFTRA leaders said it was ridiculous to frame this demand as as though it were a tax on customers, and said it was the executives themselves who wanted to shift from a model based on a show’s popularity to one based on number of subscribers.

“We made big moves in their direction that have just been ignored and not responded to,” Duncan Crabtree-Ireland, SAG-AFTRA’s national executive director and chief negotiator, told the AP. “We made changes to our AI proposal. We made dramatic changes to what used to be our streaming revenue share proposal,” Crabtree-Ireland said.

The studios said just after the talks broke off that the per-subscriber charge would cost them $800 million annually, a figure SAG-AFTRA said was a vast overestimate.

The AMPTP later responded that the number was based on a union request for $1 per customer per year, which was lowered to 57 cents after SAG-AFTRA changed its evaluation to cut out non-relevant programming like news and sports.

WHAT HAPPENS NEXT IN THE ACTORS STRIKE?

The actors are in unscripted territory, with no end in sight. Their union has never been on a strike this long, nor been on strike at all since before many of its members were born. Not even its veteran leaders, like Crabtree-Ireland, with the union for 20 years, have found themselves in quite these circumstances.

As they did for months before the talks broke off, members and leaders will rally, picket and speak out publicly until the studios signal a willingness to talk again. No one knows how long that will take. SAG-AFTRA says it is willing to resume at any time, but that won’t change its demands.

“I think that they think that we’re going to cower,” Drescher said. “But that’s never going to happen because this is a crossroads and we must stay on course.”

The writers did have their own false start with studios that may give some reason for optimism. Their union attempted to restart negotiations with studios in mid-August, more than three months into their strike. Those talks went nowhere, breaking off after a few days. A month later, the studio alliance came calling again. Those talks took off, with most of their demands being met after five marathon days that resulted in a tentative deal that its members would vote to approve almost unanimously.

HOW DID PREVIOUS ACTORS STRIKES PLAY OUT?

Hollywood actors strikes have been less frequent and shorter than those by writers. The Screen Actors Guild (they added the “AFTRA” in a 2011 merger) has gone on strike against film and TV studios only three times in its history.

In each case, emerging technology fueled the dispute. In 1960 — the only previous time actors and writers struck simultaneously — the central issue was actors seeking pay for when their work in film was aired on television, compensation the industry calls residuals. The union, headed by future U.S. President Ronald Reagan, was a smaller and much less formal entity then. The vote to strike took place in the home of actors Tony Curtis and Janet Leigh, the parents of current SAG-AFTRA member and vocal striker Jamie Lee Curtis.

Mid-strike, the actors and studios called a truce so all could attend the Academy Awards — a move forbidden under today’s union rules. Host Bob Hope called the gathering “Hollywood’s most glamorous strike meeting.”

In the end, a compromise was reached where SAG dropped demands for residuals from past films in exchange for a donation to their pension fund, along with a formula for payment when future films aired on TV. Their 42-day work stoppage began and ended all within the span of the much longer writers strike.

A 1980 strike would be the actors’ longest for film and television until this year. That time, they were seeking payment for their work appearing on home video cassettes and cable TV, along with significant hikes in minimum compensation for roles. A tentative deal was reached with significant gains but major compromises in both areas. Union leadership declared the strike over after 67 days, but many members were unhappy and balked at returning to work. It was nearly a month before leaders could rally enough votes to ratify the deal.

This time, it was the Emmy Awards that fell in the middle of the strike. The Television Academy held a ceremony, but after a boycott was called, only one acting winner, Powers Boothe, was there to accept his trophy.

Other segments of the actors union have gone on strike too, including several long standoffs over the TV commercials contract. A 2016-2017 strike by the union’s video game voice actors lasted a whopping 11 months. That segment of the union could strike again soon if a new contract deal isn’t reached.

WHAT’S HAPPENING TO MOVIES AND TV SHOWS?

The return of writers has gotten the Hollywood production machine churning again, with rooms full of scribes penning new seasons of shows that had been suspended and film writers finishing scripts. But the finished product will await the end of actors strike, and production will remain suspended many TV shows and dozens of films, including “Wicked,” “Deadpool 3” and “Mission Impossible — Dead Reckoning Part 2.”

The Emmys, whose nominations were announced the same day the actors strike was called, opted to wait for the stars this time and move their ceremony from September to January, though that date could be threatened too.

The Oscars are a long way off in March, but the campaigns to win them are usually well underway by now. With some exceptions — non-studio productions approved by the union — performers are prohibited from promoting their films at press junkets or on red carpets. Director Martin Scorsese has been giving interviews about his new Oscar contender “ Killers of the Flower Moon.” Star and SAG-AFTRA member Leonardo DiCaprio hasn’t.

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NEW YORK (AP) — Jason Kravits gets a lot of this: People recognize him – they’re just not sure how. “I’m that guy who looks like the guy you went to high school with,” says Kravits. “People think they’ve just seen me somewhere.”

Actually, they have — on TV, usually as a lawyer, or a doctor. “I’ve had enough roles that I’ve been in your living room on any given night,” the veteran actor says. “But mostly people don’t know my name.”

Kravits is one of those actors union leaders refer to as “journeymen” — who tend to work for scale pay, and spend at least as much time lining up work as working. They can have a great year, then a bad one, without much rhyme or reason. “We’re always on the verge of struggling,” says Kravits.

And they, not the big Hollywood names joining the picket lines, are the heart of the actors’ strike.

Many say they fear the general public thinks all actors get paid handsomely and are doing it for love of the craft, almost as a hobby. Yet in most cases it’s their only job, and they need to qualify for health insurance, pay rents or mortgages, pay for school and college for their kids.

“All of us aren’t Tom Cruise,” says Amari Dejoie, 30, who studies acting, does background jobs (as an extra) and modeling to keep afloat, and is considering waitressing during the strike. “We have to pay rent and bills, and they’re due on the first. And your apartment does not care that your check wasn’t as high as you expected it to be.”

In interviews, a few journeyman actors at different stages of their careers discussed their lives and their reasons for striking:

THAT ONE-PENNY CHECK

Recently Jennifer Van Dyck got a couple residual checks in the mail — one for 60 cents, one for 72 cents. But she’s seen worse. “The joke is when you get the one-cent check that cost 44 cents to be mailed to you,” says the veteran New York actor.

Still, Van Dyck counts herself lucky. With many appearances on network shows like “The Blacklist,” “Madam Secretary” and especially ”Law & Order,” where she’s appeared as a guest star 13 times, plus voiceover work, she’s been able to make a living for more than 30 years without having to take a job outside the industry.

“You just keep jumping around,” she says. “When things get dry in one area you move to the next. It’s keeping all the balls in the air: theater, film, television, voiceover, audiobooks. Call us journeypeople: Half the job requirement is looking for work.”

Van Dyck says the emergence of streaming has cut into an actor’s income alarmingly, because streamers give tiny residuals, if that. And when it comes to negotiating a rate to appear on a show, the studios don’t seem to care if you have 37 years of experience. “They say, “This is what we’re offering, take it or leave it.’”

.She’s still struck by the common misperception that actors must be rich and famous. “The majority of us aren’t,” she says. “But all those other parts (in a hit show), and all those other shows that get sidelined or disappear — that’s work, too. And those stories can’t be told without (us).”

“No one wants to strike,” Van Dyck adds. But she feels the industry is at an inflection point. And, “at a certain point you have to say, ‘No Mas.’”

___

THIS IS NOT A HOBBY

Growing up in the Washington, D.C., area, Kravits was bitten by the theater bug early, performing in community theater by the time he was 10 or 11. He studied theater in college, and eventually made his way to New York and then Los Angeles.

In LA, he got lucky, winning a recurring role on David E. Kelley’s “The Practice.”

Kravits quips he’d make a lot more money as an actual lawyer, but enjoys playing them. “I like to say I play a lot of lawyers, but never the same lawyer. I play a mean lawyer, a dumb lawyer, a funny lawyer, a hateful lawyer, an incompetent lawyer. Every role is different to me.” Most of the time, he’s on a show for one or two episodes.

Kravits says there used to be room for negotiation on everything, including billing and dressing rooms, but no longer: “You’re negotiating with Wall Street. And Wall Street is all bottom line.”

The toughest change has been with the all-important residuals. “I don’t think people realize outside the business how important residuals are to being able to afford being an actor,” he says.

And because of how meager streaming residuals are, Kravits says he has network shows he did 10, 15 even 20 years ago that still yield more residuals than buzzy shows he’s done for streamers the last few years — like HBO’s “The Undoing” or Netflix’s “Halston.”

“I didn’t get into this as a hobby,” Kravits says. “I can’t afford to do it as a hobby.”

___

PUTTING OUR MONEY WHERE OUR MOUTHS ARE

The series finale of the show that transformed actor Diany Rodriguez’s career – NBC’s “The Blacklist” – aired the same day Hollywood came to a standstill.

Rodriguez, who played Weecha, bodyguard of star James Spader’s character, would have loved to take to social media and celebrate her character’s final appearance, but the strike made that impossible. She had several new projects booked, but is now throwing herself into her duties as a strike captain.

She sees the strike as part of a larger labor movement in the country: “I’m so in favor of this because it feels overwhelmingly (like) we are ready to put our money where our mouths are for the greater good.”

Rodriguez, 41, was born in Puerto Rico, grew up in Alabama, and moved from New York to Atlanta in 2009 for theater work. Around that time, Georgia lawmakers passed generous film tax credits — incentives that brought in business but ensured a lengthy strike would be acutely felt there.

“Atlanta’s economy is funded in large part based on the film and TV tax breaks,” she says.

Rodriguez feels financially secure, thanks largely to her two-season stint on “The Blacklist,” the network residuals and the roles the show has helped her book since then.

But she says she could easily have been in the same situation as so many of her fellow actors who are on the verge of losing their health coverage, unable to earn enough in recent months to be eligible for SAG-AFTRA insurance plans.

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WHAT WILL THIS MEAN FOR ACTING?

Amari Dejoie’s father didn’t want her to follow him into the entertainment business. “They never do,” she quips.

But Dejoie, growing up in Los Angeles, got the bug, and started pursuing acting and modeling at 17. Now 30, she studies acting, paying $400 a month for classes, and takes whatever side jobs she can, including working as an extra on sets. She’s appeared in music videos, and at events as a booth model. She’s considering a waitress job to tide her over during the strike.

“My dad was part of SAG back in the day and his residuals paid for a home,” says Dejoie, who was manning the picket lines in Los Angeles last week. “It’s the same business, and (yet) it’s completely different now.”

Her father, Vincent Cook, was a boxing double for Will Smith on “Ali,” and had a role in “B.A.P.S.,” with Halle Berry. “He was not a main character, but his residuals were great and they still are,” Dejoie says, nothing that recently, after undergoing a medical issue, he discovered that SAG had a check waiting for him. “If it’s up to the studio, they’re not going to hunt you down to pay you. SAG will,” Dejoie says.

Dejoie also is concerned about how artificial intelligence will affect the industry and her work as an extra, where she makes about $150 a day to be available for background shots. Actors fear studios want to scan their images and use them repeatedly after paying for just one day of work.

“Also, if I’m not present on the set, I’m not there making connections for other jobs,” Dejoie says.

More broadly, the idea of actors’ images being replicated artificially makes her afraid for the future of the industry she is just getting started in.

“What will this mean for acting?” she says. “Did I just spend all this time and money for a craft that will one day be obsolete?”

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HOLLYWOOD, Fla. (AP) — Nine people were injured Monday evening when gunfire erupted along a beach boardwalk in Hollywood, Florida, sending people frantically running for cover along the crowded beach on Memorial Day.

Several of the victims were taken to a children’s hospital, police spokesperson Deanna Bettineschi said. However, authorities have not yet released the ages of the victims.

The nine victims included six adults and three children, according to Yanet Obarrio Sanchez, a spokesperson for Memorial Healthcare System. All of the victims were in stable condition, she said.

A preliminary investigation shows that an altercation between two groups resulted in gunfire, police said. One person has been detained and another suspect is being still being sought.

The shooting happened about 6:30 p.m. on the broadwalk near a convenience store, a Ben & Jerry’s ice cream store and a Subway sandwich shop.

Alvie Carlton Scott III said he was on the beach when all of a sudden he heard numerous gunshots go off. He said he hid behind a tree and then fled the area after a police officer told people to run.

Jamie Ward, who was also on the broadwalk, said several young men were fighting in front of the stores when one pulled a gun and started shooting.

Videos posted on Twitter on Monday evening showed emergency medical crews responding and providing aid to multiple injured people.

Police said there would be a heavy presence of officers as the investigation continues. Officials were also setting up an area for family members to reunite.

“Thank you to the good samaritans, paramedics, police and emergency room doctors and nurses for their immediate response to aid the victims of today’s shooting,” Hollywood Mayor Josh Levy said in a statement.

Hollywood Beach is a popular beach destination about 11 miles (17 kilometers) south of Fort Lauderdale and 20 miles (32 kilometers) north of Miami. The beach was expected to see more visitors than usual with the Memorial Day holiday.

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LOS ANGELES (AP) — Hollywood writers picketing to preserve pay and job security outside major studios and streamers braced for a long fight at the outset of a strike that immediately forced late-night shows into hiatus, put other productions on pause and had the entire industry slowing its roll.

The first Hollywood strike in 15 years commenced Tuesday as the 11,500 members of the Writers Guild of America stopped working when their contract expired.

The union is seeking higher minimum pay, more writers per show and less exclusivity on single projects, among other demands — all conditions it says have been diminished in the content boom of the streaming era.

“Everything’s changed, but the money has changed in the wrong direction,” said Kelly Galuska, 39, a writer for “ The Bear ” on FX and “Big Mouth” on Netflix, who picketed at Fox Studios in Los Angeles with her 3-week-old daughter. “It’s a turning point in the industry right now. And if we don’t get back to even, we never will.”

The last Hollywood strike, from the same union in 2007 and 2008, took three months to resolve. With no talks or even plans to talk pending between the WGA and the Alliance of Motion Picture and Television Producers, which represents studios and productions companies, there is no telling how long writers will have to go without pay, or how many major productions will be delayed, shortened or scrapped.

“We’ll stay out as long as it takes,” Josh Gad, a writer for shows including “Central Park” and an actor in films including “Frozen,” said from the Fox picket line.

The AMPTP said in a statement that it presented an offer with “generous increases in compensation for writers as well as improvements in streaming residuals” and was prepared to improve its offer “but was unwilling to do so because of the magnitude of other proposals still on the table that the guild continues to insist upon.”

The writers were well aware that a stoppage was likely. Yet the breakoff of contractual talks hours before a deadline that negotiations in previous years have sailed past for hours or even days, and the sudden reality of a strike, left some surprised, some worried, some determined.

“When I saw the refusals to counter and the refusing to even negotiate by the AMPTP, I was like on fire to get out here and stand up for what we deserve,” Jonterri Gadson, a writer whose credits include “A Black Lady Sketch Show,” said on a picket line at Amazon Studios as she held a sign that read, “I hate it here.”

All of the top late-night shows, which are staffed by writers that pen monologues and jokes for their hosts, immediately went dark. NBC’s “The Tonight Show,” Comedy Central’s “Daily Show,” ABC’s Jimmy Kimmel Live,” CBS’ “The Late Show” and NBC’s “Late Night” all made plans for reruns through the week.

NBC’s “Saturday Night Live,” which had been scheduled to air a new episode Saturday, will also go dark and air a rerun, and the two remaining episodes in the season are in jeopardy.

The strike’s impact on scripted series and films will likely take longer to notice — though some shows, including Showtime’s “Yellowjackets,” have already paused production on forthcoming seasons.

If a strike persisted through the summer, fall TV schedules could be upended. In the meantime, those with finished scripts are permitted to continue shooting.

Union members also picketed in New York, where less known writers were joined by more prominent peers like playwright and screenwriter Tony Kushner (“The Fabelmans”) and “Dopesick” creator Danny Strong.

Some actors including Rob Lowe joined the picket lines in support in Los Angeles. Many striking writers, like Gad, are hybrids who combine writing with other roles.

Speaking from his acting side, Gad said of his fellow writers, “We are nothing without their words. We have nothing without them. And so it’s imperative that we resolve this in a way that benefits the brilliance that comes out of each of these people.”

The other side of his hyphenated role could be in the same space soon, with many of the same issues at the center of negotiations for both the actors union SAG-AFTRA and the Directors Guild of America. Contracts for both expire in June.

Streaming has exploded the number of series and films that are annually made, meaning more jobs for writers. But writers say they’ve been made to make less under shifting and insecure conditions that the WGA called “a gig economy inside a union workforce.”

The union is seeking more compensation for writers up front, because many of the payments writers have historically profited from on the back end — like syndication and international licensing — have been largely phased out by the onset of streaming.

Galuska said she is among the writers who have never seen those kind of once common benefits.

“I’ve had the opportunity to write on great shows that are very, very popular and not really seen the compensation for that, unfortunately,” she said.

The AMPTP said sticking points to a deal revolved around so-called mini-rooms — the guild is seeking a minimum number of scribes per writer room — and the duration of employment contracts.

Writers are also seeking more regulation around the use of artificial intelligence, which the WGA’s writers say could give producers a shortcut to finishing their work.

“The fact that the companies have refused to deal with us on that fact means that I’m even more scared about it today than I was a week ago. They obviously have a plan. The things they say no to, are the things they’re planning to do tomorrow.” ___

Jake Coyle and David Bauder in New York, and Krysta Fauria and Jonathan Landrum Jr. in Los Angeles, contributed.

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