Anne Cofell Saunders Explains Why the ‘Genre Queens’ Writers are Supporting SAG-AFTRA—and Setting Up Their Own Community
October 27, 2023 by Marisa Roffman
On Friday, October 27, the “Genre Queens”—a group of female writers who write or aspire to write on genre projects—met up at the Disney lot to support the ongoing SAG-AFTRA strike. (Negotiations between SAG-AFTRA and the studios are ongoing; WGA’s strike ended in September.)
“SAG’s at a critical point in their negotiations, and now, more than ever, it’s important for writers and producers to collaborate and show our love for actors,” writer Anne Cofell Saunders (STAR TREK: DISCOVERY, TIMELESS, BATTLESTAR GALACTICA), who has been picketing once a week since WGA’s strike ended, explains to Give Me My Remote. “We work together; we have to collaborate in real-life, as well, and be there for them and have their backs—Genre Queens have their backs.”
The earliest version of the group dates back to 2007—the last WGA strike—when “about 20” female genre writers, then dubbed the Pink Hat Brigade, got together and picketed.
They decided to picket together again during the 2023 strike, and Saunders bought 40 shirts for the expected crowd. “200 people showed up,” she recalls with a laugh. “And then we had another one, which was just as big.”
Realizing there was a desire to maintain this community, the group became official pretty fast. “Now we have almost 200 active members, who’ve organized themselves into committees,” Saunders says. “[They] have created writing groups, discord groups. We have a social committee, we have a development committee. We have an education committee—the education committee’s focus is how we can take and support each of these producers and writers and train up to be incredible showrunners…because genre is very unique. There’s prosthetics. There’s special effects, there’s visual effects. There’s a huge amount of difference between that and, say, a show like TRANSPARENT or something.”
“It used to be that you were on a show for five years and 22 episodes, and you really got to know your staff,” she continues. “And now, orders are so much shorter that we don’t have the same kind of community to nurture each other. So we decided to make this an actual organization.”
When films and movies resume filming, there will be a hotline for people to call with production challenges. Showrunners have volunteered to mentor small groups and hold “office hours” once a month. For the vets, their mindset is, “How can we create a system of support that used to exist that no longer exists?” Saunders says. “And how can we lift up women, particularly in genre? [The female showrunners] all just feel a big responsibility to try to help up the next generation of showrunners.”
“You can be brilliant at what you do, but the most important thing about being a leader is you bring other people with you,” she continues. “You share your knowledge and we’re all gonna learn together—I think showrunners can learn a lot from each other, too. I think change is possible when we all support each other. And I think that this particular group, and how motivated all these women are, they’re all leaders in their own right. It feels like we’re an army of change.”
And part of that is showing up for the striking actors. “Ultimately, writers’ rooms will only be able to run so long without [actors],” Saunders says. “We just want to show our love and support.”
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