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Any EP/HW taking the job will able to start wherever they like working for PP comes with a new budget and a chance to write fresh new stories with whichever character they would like to use. Actually this whould be a perfect opportunity for any EP/HW to actually have their work displayed without network interference

Bottom line is there isn't enough money and there is no union approval yet maybe that is what is making writers wary of the deal more than anything else.

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To tell the truth PP doesn't need OLTL to be a success if they truly want to air AMC they are suppose to be launched other shows along with OLTL so any of those can be success and do the same thing - attract investors and advertisers. PP needs for there entire network to be viable for the money to become available but I do agree if OLTL fails then AMC will never air.

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Even a breakdown for a SAG Ultra Low Budget film will have a huge disclaimer if the union status of the project has yet to be verified. They must have a lot of faith that the AFTRA stuff will be worked out, yet it seems to me like a big no-no to be signing on any dotted lines before that's been settled. I wonder what the exact language of these contracts is, i.e., outs if the AFTRA negotiations fall through, and are we sure we're talking actually signed contracts versus offers made and accepted?

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Ah, thank you both for the info.

I wonder what day-to-day's been like for the signed and unsigned. I'm sure many of them have enough dollars in the bank to live securely, at least for the time being. But it's got to be nerve-wracking wondering if there's more they should be doing for their careers in the interim, if some have been coasting on the "fact" that they'll be employed by PP, and if some pants were pooped when the news dropped about AMC being put on hold. Our days aren't nearly as long as theirs.

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