If you’re reading this, it’s by definition because… I’m back. Don’t panic.

Yes, there were some technical problems involving my host. I’m not a completely web-savvy guy, but I’m pretty sure that the problem was that our refluxitative capacitors had a neobaud frink of over 11gs! Well, I don’t need to tell you all that this made the reflidiate borotubules bump up against the 1.65 microvort threshold, causing a splididity overthorp. Of course. Fortunately, the technicians managed to preampufy the giganard core bforethe reflexitive contextualizer broke loose.

So, we’re back.

As for me, I’m not back to work yet. But I’ve just heard the first piece of what I’d consider substantive good news in a while:

WGA signs deal with United Artists

Interim pact allows film writers to work for studio

The WGA has agreed to sign an interim deal with United Artists that would allow feature film writers to go back to work for the studio.Neither the WGA nor UA confirmed the negotiations Saturday but sources familiar with the agreement said a formal announcement will be made on Monday. The deal won’t include MGM, the majority owner of UA.

Specifics of the WGA-UA agreement will be kept under wraps but will likely mirror the terms in the interim pact that guild inked last week with David Letterman’s Worldwide Pants…

Nice, huh? That’s right, the little studio founded in 1919 by Charlie Chaplin, Mary Pickford, D.W. Griffith, and Douglas Fairbanks has once again delivered on its original intent: To give artists creative control and a fair deal, so that they can make such gems as “Showgirls” and “Heaven’s Gate.” Okay, bad examples. The point is that today I’m a fan of Tom Cruise. Thank you, Tom, for helping move the ball downfield. With no negotiations scheduled, the writers’ last, best hope is this divide-and-conquer strategy which forces the greedheads* to look across their vacant lots, across the street, and see their competition happily starting up the assembly line again…

———-

[*see “Citizen Greedhead,” UA, 1927]