HBO and Max drew the most Screen Actors Guild Awards nominations in the television category, nearly doubling the nods tallied by their closest competition.

Combined, the Warner Bros. Discovery-owned cable network and streamer garnered 14 SAG Awards nominations, outpacing second-place Apple TV Plus’s eight nominations and Netflix’s seven nods, according to SAG-AFTRA, which announced the nominations during a Wednesday morning ceremony. 

HBO/Max was paced by the drama series Succession, which earned five nominations, including one for best ensemble in a drama series, and The Last of Us, which drew four nominations, along with FX’s The Bear and Apple TV Plus’s Ted Lasso. 

Also Read: ‘Succession,’ ‘The Bear,’ ‘Beef’ Dominate Golden Globe Awards 

HBO shows Succession, which ended its four-year run last spring, The Last of Us and The Gilded Age will compete with Netflix’s The Crown and Apple TV Plus’s The Morning Show for best drama series. ABC’s Abbott Elementary will look to repeat in the best comedy series against The Bear, HBO’s Barry, Hulu’s Only Murders in the Building, and Ted Lasso. 

The Bear’s Jeremy Allen White will look to take home his second straight SAG Award statuette in the best male actor in a comedy series category, which also features The Bear’s Ebon Moss-Bachrach, Brett Goldstein and Jason Sudeikis (Ted Lasso), and Bill Hader (Barry).  

The 30th annual Screen Actors Guild Awards will stream live on Netflix on February 24.

And the Nominees Are …

The complete list of SAG Awards nominations in the television category are as follows: 

Outstanding Performance by an Ensemble in a Drama Series

The Crown (Netflix)
The Gilded Age (HBO)
The Last of Us (HBO)
The Morning Show (Apple TV Plus)
Succession (HBO)

Outstanding Performance by a Male Actor in a Drama Series

Brian Cox, Succession (HBO)
Billy Crudup, The Morning Show (Apple TV Plus)
Kieran Culkin, Succession (HBO)
Matthew Macfadyen, Succession (HBO)
Pedro Pascal, The Last of Us (HBO)

Outstanding Performance by a Female Actor in a Drama Series

Jennifer Aniston, The Morning Show (Apple TV Plus)
Elizabeth Debicki, The Crown (Netflix)
Bella Ramsey, The Last of Us (HBO)
Keri Russell, The Diplomat (Netflix)
Sarah Snook, Succession (HBO)

Outstanding Performance by an Ensemble in a Comedy Series

Abbott Elementary (ABC)
Barry (HBO)
The Bear (FX)
Only Murders in the Building (Hulu)
Ted Lasso (Apple TV Plus)

Outstanding Performance by a Male Actor in a Comedy Series

Brett Goldstein, Ted Lasso (Apple TV Plus)
Bill Hader, Barry (HBO)
Ebon Moss-Bachrach, The Bear (FX)
Jason Sudeikis, Ted Lasso (Apple TV Plus)
Jeremy Allen White, The Bear (FX)

Outstanding Performance by a Female Actor in a Comedy Series

Alex Borstein, The Marvelous Mrs. Maisel (Prime Video)
Rachel Brosnahan, The Marvelous Mrs. Maisel (Prime Video)
Quinta Brunson, Abbott Elementary (ABC)
Ayo Edebiri, The Bear (FX)
Hannah Waddingham, Ted Lasso (Apple TV Plus)

Outstanding Performance by a Male Actor in a Television Movie or Limited Series

Matt Bomer, Fellow Travelers (Showtime)
Jon Hamm, Fargo (FX)
David Oyelowo, Lawmen: Bass Reeves (Paramount Plus)
Tony Shalhoub, Mr. Monk's Last Case: A Monk Movie (Peacock)
Steven Yeun, Beef (Netflix)

Outstanding Performance by a Female Actor in a Television Movie or Limited Series

Uzo Aduba, Painkiller (Netflix)
Kathryn Hahn, Tiny Beautiful Things (Hulu)
Brie Larson, Lessons in Chemistry (Apple TV Plus)
Bel Powley, A Small Light (National Geographic)
Ali Wong, Beef (Netflix)

Outstanding Action Performance by a Stunt Ensemble in a Television Series

Ahsoka (Disney Plus)
Barry (HBO)
Beef (Netflix)
The Last of Us (HBO)
The Mandalorian (Disney Plus)

SAG-AFTRA, the union representing television and movie actors, said it reduced its demand for streaming revenue-sharing, but that its new proposal was rejected by the studios.

The union also said the offer by some of Hollywood’s highest-paid actors to raise the ceiling on the amount of dues the pay to the union and letting lower-paid members get first crack at residual payments was generous, but not related to the current contract negotiations.

SAG-AFTRA’s demand for 2% of media companies’ streaming subscription revenues was one of the reasons negotiations broke down a week ago. 

In a note to members early Friday morning, the SAG-AFTRA negotiating committee acknowledged that the revenue-sharing proposal raised concerns at the studios.

“After several, seemingly constructive sessions, we pivoted from the plan we carefully and responsibly developed over the past year and dropped our ask to 1%. We did so, by restructuring our proposal, tailoring it to address their concerns,” the union said. “They responded by walking out and calling us greedy.”

The union added that the Alliance of Motion Picture and Television Producers (AMPTP), which represents the studios in the talks, has also refused to counter union proposals on other issues, including minimum wage rates.

Another issue that has surfaced was a proposal by high-profile actors including George Clooney that is worth an estimated $150 million.

The union warned that the studios might be using the proposal to divide union membership, but otherwise embraced the notion.

“We’re grateful that a few of our most successful members have engaged to offer ideas and support,” the union said. “Beyond donating extraordinary sums of money to the SAG-AFTRA Foundation in support of members during the strike, these influential individuals have sought to offer suggestions, in particular with regard to our streaming sharing proposal and the AMPTP's characterization that we are asking for too much. They have contemplated increasing the amount of money that the highest earners contribute to the union via raising their dues.” 

“This generous concept is worthy of consideration, but it is in no way related to and would have no bearing on this present contract or even as a subject of collective bargaining,” the union said. 

“Having said that, their creativity and earnest desire to help solve the impasse are very much appreciated. It is worth noting that the union has a very robust process to include the concerns of every member,” the union said. “The fact that the heads of the networks, streaming companies and studios are open to communicating with them directly is great. But, the executives should not for one second think that they can use the good will of member emissaries to distract us from our mission.”

The actors union, SAG-AFTRA, and the Association of Motion Picture and Television Producers said they will resume negotiations on a new contract on October 2.

A joint statement from SAG-AFTRA and the AMPTP specified that “several executives from AMPTP member companies will be in attendance."

The announcement follows the end of the strike by the Writers Guild of America at 12:01 a.m. (PT) on Wednesday. The writers have been on picket lines since May.

Union officials recommended the proposed new contract and have given the OK for writers to return to work, pending ratification by members.

The writers strike ended after senior media company executives personally joined the bargaining.

SAG-AFTRA went on strike in July, joining the writers and effectively shutting down production of nearly all theatrical films and scripted television shows.

With the end of the writers strike, some talk shows have started making plans to produce new episodes.

 After almost 100 days on the picket lines with no signs of progress at all, the Writers Guild of America (WGA) revealed yesterday that the Alliance of Motion Picture and Television Producers (AMPTP) has “reached out to the union and asked for a meeting this Friday to discuss negotiations.”

The ongoing writers’ and actors’ strikes are having a devastating impact in Hollywood, where the economic pain is trickling down to behind-the-scenes, below-the-line workers and related service industries. The WGA estimated that the strike is costing California’s economy $30 million a day, but that was before the actors union, SAG-AFTRA, launched its own parallel strike July 14.

FilmLA recently reported that TV drama production in Los Angeles county fell by 63.8% in Q2, while TV comedies were down by 72% compared to the same period last year.

But while news that the two sides are willing to meet on Friday marks the first sign of progress since writers walked off the job May 2, it’s far from a major breakthrough. According to a report from Deadline, Friday’s discussions “are centered on creating committees to examine the issues. The topics at the top of the agenda include minimum staffing, duration of employment, a viewership-based streaming residual and AI.”

In other words, they’re just getting started.

The Penske trade pub reported last month that from the outset, the studios’ plan was to “let the writers go broke” before resuming negotiations in the fall, and that the studios planned to hold their breath until late-October before reaching a deal.

The publication cited one unnamed studio exec saying, “The endgame is to allow things to drag on until union members start losing their apartments and losing their houses.”

But the AMPTP is made up of both traditional studios and streaming giants like Netflix, Amazon and Apple and while they both make TV, they have very different business models and agendas.

Moody’s Investors Service recently estimated that in the end, settling with the unions could cost the studios as much as $400-600 million per year and added that a prolonged work stoppage would hurt traditional TV before big streamers.  

“Television will bear the brunt of a long strike as the implications of the two striking unions will play out more noticeably for TV networks, stations, cable channels...“ Moody’s said. “TV networks, particularly broadcast networks, consistently schedule new primetime shows to begin in the fall. Cable networks vary in their exposure to original scripted content and, therefore, only some are exposed…”

But the analyst added that the least at risk would be global streaming platforms who are “well-positioned financially, have little or no exposure to the declining linear ecosystem and have diverse sources of content — both in terms of production and libraries.”

Indeed, studios with a linear broadcast business to maintain were left empty-handed entering this year’s upfront season where the TV networks try to pre-book ads for the coming year, especially during their buzzworthy new fall premieres.

Instead, they’ve been forced to rely heavily on reality TV for the fall season, largely contributing to a weak upfront sales market this year.

Netflix, meanwhile, recently reported that its nascent advertising initiative had no material impact on Q2 earnings, and with its international pipeline of new content and vast library, it was obvious from day one that the streaming giant was in the best position to weather a prolonged strike. Netflix co-CEO Ted Sarandos told investors on the company's earnings call that the streaming giant had upped its free cash flow estimates for the year by $1.5 billion due to lower content spending during the work stoppages.

Michael Nathanson, founding partner of SVB MoffettNathanson, recently told CNBC’s Squawk Box that the strikes play to Netflix’s strengths. “The problem here for the strikers is that it’s going to make Netflix stronger and their competitors weaker,” he said.

While most of the writers’ demands focus on monetary issues the widely-publicized paucity of their dwindling residuals, the issue of artificial intelligence in the creative process has emerged as a much more thorny topic in both strikes.

In May, when the writers walked out, the AMPTP put out a statement saying that AI technology, “raises hard, important creative and legal questions for everybody… Writers want to be able to use this technology as part of their creative process, without changing how credits are determined, which is complicated given AI material can’t be copyrighted. So it’s something that requires a lot more discussion, which we’ve committed to doing.”

At least, with the two sides finally sitting down at the negotiating table, they’ll be able to start those discussions.

Two months ago, the Writers Guild of America went on strike, partially concerned that movie, TV and streaming producers would begin replacing their work via artificial intelligence. 

Writers were joined on the picket lines on Thursday by 160,000 SAG-AFTRA actors, who are largely freaked out by largely the same thing. 

Somehow, the actors’ fears feel more visceral. 

According to the union’s chief negotiator, Duncan Crabtree-Ireland, talks broke down when the other side — the Alliance of Motion Picture and Television Producers (AMPTP) — revealed plans to scan in the likeness of secondary performers and control the rights to that digital likeness into perpetuity … in exchange for just one day of pay. 

UPDATED: The AMPTP has staunchly refuted SAG-AFTRA's claim. Here's their statement provided to Next TV Friday morning: "The claim made by SAG-AFTRA leadership that the digital replicas of background actors may be used in perpetuity with no consent or compensation is false. In fact, the current AMPTP proposal only permits a company to use the digital replica of a background actor in the motion picture for which the background actor is employed. Any other use requires the background actor’s consent and bargaining for the use, subject to a minimum payment."

“We are being victimized by a very greedy enterprise,” SAG-AFTRA president Fran Drescher said during a Thursday press conference. “At some point, you have to say ‘No, we’re not going to take this anymore. You people are crazy. What are you doing? Why are you doing this?’

Also Read: It’s Time to Fix a Broken System, Say Writers Picketing in New York

“If we don’t stand tall right now, we are all going to be in jeopardy,” Drescher added. “You cannot change the business model as much as it has been changed and not expect the contract to change too. I cannot believe … how [the studios] plead poverty, that they are losing money left and right, when they give hundreds of millions to their CEOs. It is disgusting. Shame on them.”

The AMPTP said it offered “historic pay and residual increases, substantially higher caps on pension and health contributions, audition protections, shortened series option periods, and a groundbreaking AI proposal that protects actors’ digital likenesses for SAG-AFTRA members.”

Added an AMPTP statement: “A strike is certainly not the outcome we hoped for as studios cannot operate without the performers that bring our TV shows and films to life. The Union has regrettably chosen a path that will lead to financial hardship for countless thousands of people who depend on the industry.”

Crabtree-Ireland responded, at the SAG-AFTRA press conference, “If you think this is a historic proposal, think again.”

Union actors could soon join writers on the picket lines, with SAG-AFTRA members on Monday voting 97.9% in favor of a strike authorization.

The now combined actors union is set to begin negotiations on a new collective bargaining agreement with the Alliance of Motion Picture Television Producers (AMPTP) on Wednesday. 

Union actors haven't gone on strike against the film and TV industry since 1980, when SAG and AFTRA — which were distinct at the time — walked for 94 days to fight for residuals on then-new formats including VHS and pay TV.  

The SAG-AFTRA negotiations come as the Writers Guild of America enters its second month on strike. The Directors Guild of America reached agreement on a new three-year deal with AMPTP, which represents the studios and streaming companies, over the weekend. 

“The strike authorization votes have been tabulated and the membership joined their elected leadership and negotiating committee in favor of strength and solidarity,” SAG-AFTRA president Fran Drescher said. “I’m proud of all of you who voted as well as those who were vocally supportive, even if unable to vote. Everyone played a part in this achievement. Together we lock elbows and in unity we build a new contract that honors our contributions in this remarkable industry, reflects the new digital and streaming business model and brings ALL our concerns for protections and benefits into the now! Bravo SAG-AFTRA, we are in it to win it.”

Meanwhile, AMPTP issued this short response: “We are approaching these negotiations with the goal of achieving a new agreement that is beneficial to SAG-AFTRA members and the industry overall.”

The Screen Actors Guild Awards will stream live on Netflix starting in 2024 in a multi-year partnership. Netflix will stream the 2023 awards, happening next month, on its YouTube channel, and the awards will be on the main platform next year. It is a rare example of Netflix airing live programming.

The SAG Awards salute the best in television and film. 

“The SAG Awards are beloved by the creative community and viewers alike, and now even more fans around the world will be able to celebrate these talented actors,” Bela Bajaria, Netflix head of global TV, said. “As we begin to explore live streaming on Netflix, we look forward to partnering with SAG-AFTRA to elevate and expand this special ceremony as a global live event in 2024 and the years to come.”

The 29th annual SAG Awards is on Sunday, February 26, at Fairmont Century Plaza in Los Angeles. Nominees are announced January 11, with Ashley Park of Emily in Paris and Haley Lu Richardson of The White Lotus hosting. 

TBS and TNT previously aired the event. 

“We are thrilled to embark on this exciting new partnership with Netflix and we look forward to expanding the global audience for our show,” SAG-AFTRA National Executive Director Duncan Crabtree-Ireland said. “As the only televised awards program exclusively honoring the performances of actors, whose work is admired by millions of fans, the SAG Awards are a unique and cherished part of the entertainment universe.”

The SAG Awards are executive produced by Jon Brockett and produced by Avalon Harbor Entertainment. ■

PBS NewsHour Productions says it has officially recognized SAG-AFTRA/NewsHour Union, saying it supports the rights of its employees to have union representation.

NewsHour Productions had already said it intended to voluntarily recognize the unit once the employees voted Thursday to be represented.

"We welcome this newly formed group as represented by SAG-AFTRA and look forward to working together on a collective bargaining agreement," said Mary Stewart, VP, external affairs, for WETA Washington, of which NewsHour Productions is a wholly owned subsidiary.

Also: NewsHour Employees Want to Unionize

According to the organizing committee, morale has been low due to turnover and the COVID-19 pandemic, as well as the nationwide racial reckoning. They said losing experienced hands, particularly staffers of color, has left more work and longer hours for fewer people, including on its expanded digital footprint. ■

PBS NewsHour staffers said Friday (July 21) that, in the spirit of civility and professionalism, they intend to unionize with SAG-AFTRA. They claim that more than 70% of content creators at NewsHour Productions signed the petition to unionize.

A majority of content staffers said it has been over two weeks since the staffers of NewsHour and Washington Week, both produced by NewsHour Productions out of anchor noncom programmer WETA-TV Washington, had sought recognition of the union. They said that this week they were notified that management was going to exclude some colleagues from the bargaining unit, colleagues they said were vital to getting shows on the air.

According to one staffer, morale has been low due to turnover and the COVID-19 pandemic, as well as the nationwide racial reckoning. They said losing experienced hands, particularly staffers of color, has left more work and longer hours for fewer people, including on its expanded digital footprint.

"As the creative engine behind one of the most trusted news institutions in the country," they said their goal is a healthier, better and more transparent workplace.

They said that their hope is that WETA and NewsHour Productions will recognize the union and give it a seat at the table.

"Our intent, as it has always been, is to voluntarily recognize the unit," said Mary Stewart, VP of external affairs at WETA, of which PBS NewsHour is a wholly-owned subsidiary. "We are currently in discussions with reps, as the organizers asked us to be, and are very close to a next step." ■

With former President Donald Trump’s impeachment acquittal by the United States Senate, the door remains ajar for Trump to run again in 2024, as many of his supporters are encouraging him to do.

But there was a more conclusive prohibition that was meted out against him only days before — namely a resolution passed by the SAG-AFTRA National Board that preemptively denied any potential readmission application to the talent union by Trump. His SAG-AFTRA membership enabled Trump to host The Apprentice and its successor series, The Celebrity Apprentice, which provided massive public exposure for more than a decade that he leveraged for his successful 2016 White House bid.

As SAG-AFTRA president Gabrielle Carteris noted, “Preventing Donald Trump from ever rejoining SAG-AFTRA is more than a symbolic step. It is a resounding statement that threatening or inciting harm against fellow members will not be tolerated. An attack against one is an attack against all.” The union’s membership includes virtually all the television journalists who covered Trump while he was in office, some of whom he called the “enemy of the people.”

Facing a disciplinary hearing, Trump already had voluntarily relinquished his membership on Feb. 4, a day before it was to be held. In his resignation letter, the former president expressed pride in his movie and television work, capped off by “one of the most successful shows in television history, The Apprentice.”

The Apprentice premiered on NBC during the 2003-2004 television season. It finished seventh among all primetime network programs then. The series dropped to number 11 in its second season, and continued an annual downward slide to number 113 by the 2010-11 television season, its last (the highest ratings ranking for The Celebrity Apprentice, which then ran with Trump as host until 2015, was No. 48).

One suspects that when the Donald J. Trump Presidential Library is finally opened, there may be a whole wing devoted to The Apprentice, since it looms so large in Trump’s own list of lifetime achievements. Trump earned more than $200 million from the series and its spinoff over 14 seasons, and millions more from enhanced product licensing, as his name and image became more profitable. It would not be surprising to see both a replica Oval Office and a reconstructed boardroom set with a wall of video screens in the background playing episode clips on an endless loop.

His TV career prospects have been permanently shattered by the SAG-AFTRA board resolution. Starting a much-rumored Trump TV network from scratch or acquiring an existing cable network such as One America News Network might not offer much regular screen time either, if it was covered by SAG-AFTRA rules; even if not, the ability to attract top on-air union talent would be severely limited by these rules. 

In short, Trump’s September 2005 declaration to host Billy Bush on his Access Hollywood bus hot-mic moment that went viral again and again — “When you’re a star, they let you do it” — no longer will ring true. The only people who still might agree with this boast are those senators who voted for acquittal at the impeachment trial, along with those who supported the outcome. Their hope is that whatever is left in its wake, the show must go on.

Stuart N. Brotman is the former president and CEO of The Museum of Television & Radio, now known as the Paley Center for Media.

Former President Donald Trump, who is also a former reality show host with some cameo film appearances to his credit, has resigned from SAG-AFTRA, according to a letter in which he trumpets his acting career and trashes cable news and the union.

That came after disciplinary charges were filed by the union against Trump by SAG-AFTRA president Gabrielle Carteris and national executive director David White.

Also Read: Facebook Board Reviewing Trump Ban

On Jan. 19, the SAG-AFTRA National Board voted "overwhelmingly" to find probable cause that Trump, for his role in "inciting the attack on the U.S. Capitol on Jan. 6, and in sustaining a reckless campaign of misinformation aimed at discrediting and ultimately threatening the safety of journalists, many of whom are SAG-AFTRA members" had violated the union's constitution and that, if found guilty, could be expelled.

In a letter from Trump in response to the planned disciplinary committee hearing on revoking his membership, Trump said he continued to be proud of his work on movies "such as Home Alone 2, Zoolander and Wall Street: Money Never Sleeps; and television shows including The Fresh Prince of Bel-Air, Saturday Night Live," as well as "of course, one of the most successful shows in television history, The Apprentice – to name just a few!"

The former president also said he had helped the cable news business, which he added was "said to be a dying platform with not much time left until I got involved in politics," and trump-eted the jobs he had created at MSNBC (which he called "MSDNC" as he frequently does to suggest it is a Democratic functionary, and at "Fake News CNN," among others.

Also Read: Senate Receives Trump Articles of Impeachment

"Which brings me to your blatant attempt at free media attention to distract from your dismal record as a union," he said. "Your organization has done little for its members, and nothing for me – besides collecting dues and promoting dangerous un-American policies and ideas – as evident by your massive unemployment rates and lawsuits from celebrated actors, who even recorded a video asking, 'Why isn’t the union fighting for me?' These, however, are policy failures. Your disciplinary failures are even more egregious. I no longer wish to be associated with your union."

The union clearly no longer wished to be associated with the former reality star. Its reply to Trump's letter was: "Thank you."

With one in five COVID-19 tests on Los Angeles County residents now registering positive, and local hospitals pushed to their breaking points, Hollywood studios are on the brink of shutting down once more. 

The union representing onscreen talent, SAG-AFTRA, along with the Producers Guild of America (PGA) and the Joint Policy Committee (JPC), which represents those on TV commercial shoots, sent out a joint statement Sunday, saying they’ve agreed to a recommended “temporary hold” on in-person production in Southern California. 

This undefined stoppage would seem to extend beyond the usual holiday production hiatus, which is set to end in mid-January. 

“Southern California hospitals are facing a crisis the likes of which we have never seen before. Patients are dying in ambulances waiting for treatment because hospital emergency rooms are overwhelmed. This is not a safe environment for in-person production right now,” said SAG-AFTRA President Gabrielle Carteris, in a statement.

Also read: Production Panic: Can the Major SVOD Services Keep Up with Ravenous Audience Demand?

A veteran production worker, who withheld his name because his employer hasn't authorized him to speak to the press, told Next TV on Tuesday that the commercial shoot he's working on has yet to respond to the recommendation issued by the guilds. 

He added, however, "I imagine that they'll 'pause' in the next couple of days.

Production was first halted at the beginning of the pandemic back in March, significantly disrupting the original series plans of the major SVOD services, among many others in the video business. Notably, the stoppage altered the launch plans for NBCUnversal's Peacock and WarnerMedia's HBO Max, forcing backers to re-think their strategies built on original shows. 

Guilds, media companies and streaming platform operators worked closely with California, and Los Angeles County and City health authorities to carve out stringent safety protocols, calling for aggressive testing of workers, social distancing, cleanliness of facilities, and limits as to how many extras and other personnel could be on set at any given time, among other steps. 

FilmLA, which authorizes location work, resumed issuing permits back in June, and despite rules stipulating that one positive test shut down an entire multi-million-dollar production, the masked-up workflow has generally kept the 160,000 workers who underpin the local Los Angeles-area film and TV production industry safe. 

 Production work continued to steadily increase up until December, when local cases surged, and FilmLA reported a significant drop-off in location applications. 

While TV actors, shows and networks will be counting their awards Sunday night (Jan. 25), the pre-production folks mounting the 21st Annual Screen Actors Guild Awards have been counting up how many items, resources and people it takes to get to the live simulcast of the show on TNT and TBS.

Conclusion: It takes a village to raise an awards show. Here's a look at some of the numbers involved:

• 700+ staff and crew members
• 17,100 square feet of red carpet outside the Shrine Auditorium in Los Angeles
• 20,000 white roses on the stage inside
• 1 large silver-framed gold-trimmed screen center-stage to spotlight clips
• 1,200 Silver Chiavari Chairs with more than 1,200 Chiavari Ice Bengaline seat cushions for guests to sit upon
• 8 different meal choices (including four vegan alternatives) created by Chef Wolfgang Puck
• 1,200 Chelsea Gold china dinner plates to serve Puck's food on
• 3,600 Regency champagne, wine and water glasses for guests to drink from
• 2,400 pieces of Christian silver flatware for guests to eat with
• 2 wine-tasting bars (only two?)

The SAG Awards, presented by SAG-AFTRA, will air live on TNT and TBS on Sunday, Jan. 25, at 8 p.m. (ET). A primetime encore presentation will follow immediately on TNT. The show will also be live-streamed on the TNT and TBS websites, and via the Watch TNT and Watch TBS apps for iOS and Android.

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