How straightforward is it to make that kind of lateral move from, you know, from a non-editorial department into editorial?

Yeah.

So I think sometimes when people think about getting into publishing, I think I'm going to be an editor.

And at the time of when I was applying for every job, I first applied for a rights assistant and completely failed because I'd left the caps lock on a typing test.

But that sort of sent me another way of then actually getting a job in PR.

I mean, I had no idea.

I thought it was just about sort of making books.

But if you are someone, say, in your 20s coming out of university and you find yourself in that situation, what do you recommend you do?

Uh, Amanda, why don't you set the stage by telling us about the What Did Jennifer Do controversy from 2024?

Absolutely.

Thanks, David, and thanks to my fellow panelists.

This is gonna be a great one.

So yeah, I think-- I thought we'd start off to illustrate sort of what's at stake for filmmakers and various stakeholders in this documentary process.

Uh, the What Jennifer Did example, um, illustrates a lot here.

So for those who don't know, What Jennifer Did is a docuseries on Netflix.

And, you know, the, the creative folks, the filmmakers are sort of finding themselves in this new conversation where they're talking to their law- lawyers about, you know, "How do I protect my work if I'm using AI in it? If I, uh, use AI to do X, Y, or Z, can I still get a copyright?" Before we get into sort of the practical tips and maybe the prompts and some of the other elements, Amanda, um, what's the big picture you're thinking about here for your clients when we talk about copyrightability, specifically in the context of documentaries?