It meant a whole lot of reruns, reality shows, and game shows.
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TV series like “30 Rock,” “The Big Bang Theory,” or “Heroes” saw their seasons cut short, while others like “24” or “Entourage” were delayed altogether. In the 100-day work stoppage that extended into February 2008, talk shows and other variety shows ground to a halt. At that point, Netflix was a DVD company that had just introduced streaming, but enough content lived online that writers knew they had to make a move.
streaming before anyone knew to call it streaming. So what happened the last time the writers went on strike?īack in 2007, the WGA fought for regulated payment over content moving to “new media,” i.e. Not great signs that things are going to improve any time soon. Studios greenlit projects and raced to begin production while pitches for other new business dwindled and the market slowed. In the last few months, producers began stockpiling scripts. It gives the guild a lot of leverage in the remaining days of talks with the AMPTP and proves they mean business.īack during 2017’s negotiations, there was a similar vibe around town and the strike authorization vote approval was nearly as high… but the guild and the studios averted a strike at the last minute. That strike authorization vote was approved by 97.78 percent of the members who voted, a record for the guild in terms of unity but also in terms of members who submitted ballots.
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On April 17, WGA members overwhelmingly approved a strike authorization vote, which gave the guild permission from its over 11,500 television and movie writers to initiate a strike once the two sides were unable to make a deal. What happened ahead of the May 1 deadline? The studios also did not offer a counter proposal when the guild asked for a “viewership-based residual,” such that hit streaming shows pay out more than a show that isn’t as successful, which suggests that the studios still see its data as top secret. Movie” grossed worldwide in a single weekend what the writers are asking for in raises.īut while there was some give between the two sides on recalculating residuals formulas or raises to minimum wages, as well as even some tentative agreements over span protection and other factors, guild leadership said in an interview that the AMPTP refused to even hear out their proposals on what the guild considers core, “existential” issues, and in that regard, both sides remain very far apart.Īmong those are the issues of minimum staffing on shows, doing screenwriting work effectively for free, asking for the same protections for working on variety shows for streamers as those who work in broadcast (and instead offering a “day rate), and refusing to even engage on the subject of using AI-generated material.
For what it’s worth, “The Super Mario Bros. The guild says that its proposals would amount to an extra $429 million per year coming writers’ way, whereas the studios’ counter offers them only an extra $86 million per year.
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The WGA went a step further and published its full list of proposals offered as of May 1, along with the AMPTP’s counter offer (some of which came with no counter offer at all). The guild said late Monday after negotiations concluded that the studios were trying to turn writing into a “gig economy” and threaten to turn writing into a “freelance profession.” The studios on the other hand said the biggest sticking points were the guild’s requirements for “mandatory staffing” and “duration of employment,” which the AMPTP says are “Guild proposals that would require a company to staff a show with a certain number of writers for a specified period of time, whether needed or not.” Cannes 2023 Film Market Acquisitions: Bleecker Street and Magnolia Kick Things Off Where are the writers and studios divided?
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