In case you missed it, most of the American film industry has been on lockdown over the past six months. Don’t be worried, it’s not because all your favourite actors have been abducted by aliens and sent off-world to kickstart a colony on Jupiter (or maybe that’s been happening and we have just been unaware – who knows?).
At the start of May 2023, the Writers Guild of America kickstarted a major disruption in the American film and television industry by announcing that they would be going on strike. The picket lines were laid out and writers all stood in unison against their employers.
Nevertheless, the situation was turned on its head when SAG-AFTRA decided to join up with the scribe tribe. About a month and a half since the WGA strikes began, the actors too, halted all work on their end, forcing an industry shutdown for the most part.
Nevertheless, after a cumulative 191 days of labour stoppages, the gears are set to turn once more as the strikes have finally concluded.
Now, that it’s over, we discuss what this whole strike has been about and its significance for the film industry’s future.
WGA & SAG-AFTRA? WHAT THE HECK’S THAT?
Take note of these two terms as we’re going to be using them a lot here.
The Writers Guild of America (WGA) and Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) are two important organizations in the American film industry. Think of it as a massive collective of most working writers for film and television, and the same can be said about the working actors.
Not every active actor needs to join this guild. This applies to the writers as well. Nevertheless, there are benefits to doing so.
The main idea is that the guilds protect and oversee that the rights of all its members are respected and followed. For example, SAG-AFTRA actors get overtime pay if their services are required for longer than what was set. They also get the provision of obligatory meal breaks within certain hours of shooting. Failure to observe these sets of rules would result in the production having to pay a penalty as compensation to the actors involved.
So, it is safe to say that you don’t want to mess around with these organizations. And of course, in the case of the past few months, they have been the disruptive force to shake things up within the industry.
AMPTP
On the other side of the courthouse is the AMPTP, which is the Alliance of Motion Picture and Television Producers. This body represents over 350 companies in the industry. These include major names like Walt Disney Studios, Paramount Pictures, Sony Pictures, Warner Bros., and Universal Pictures. TV networks like FOX, CBS, and NBC are also represented here, as well as streaming platforms like Netflix, Apple TV+, and Amazon.
So, yes, this is the conglomerate of Hollywood bigwigs. Competitors, really, but all of them come together under one umbrella in collective bargaining during periods like the past months.
WHAT’S BEEN COOKING?
First of all, we’ve got to understand what the writers and actors have been fighting for this whole time. And you probably might have guessed it by now.
That’s right!
Now, before you go on a tirade as to why Chris Pratt needs another million dollars, let’s just lay down the pitchforks and look at what’s happening.
Indeed, actors like Scarlett Johansson, Robert Downey Jr., Leonardo DiCaprio, and Matt Damon earn a lot. Like a SH*TON! However, as you scroll down the credits and move over to the list of names that are at the bottom of the cast list, it is not the same for them.
Generally, these smaller names (including writers themselves) have little to no job security. Most of them live paycheck to paycheck. These jobs are contractual and once a project concludes, it can be worrisome to wait 6 months or a year without cash flowing in.
A huge chunk of expenses goes to having to rent and live in a place where opportunities lie. So, if one is without a job, how is that individual meant to pay for these, without resorting to taking up secondary or tertiary gigs to finance their lives?
Therefore, it’s safe to say that the main narrative of the strike was to look out for the little guy.
“WHERE’S MY MONEY?”
Streaming, generally, has been an advent, with the model being implemented by a great many studios. While some have been more successful than others, the pandemic of 2020 brought streaming to the forefront due to its accessibility from mobile devices and homes.
However, there has been a point of contention when it came to the paycheck for movies and shows released on sites like Netflix or Disney+.
When someone is part of a project, residuals are involved. These payments usually come in after the initial box-office run, which means these are cable reruns, syndication, physical media releases and streaming licensing. A fixed residual can be paid out based on a formula created by the union, factoring in the program length, size of service and the year of exhibition. A revenue-based residual can also apply whereby the project is licensed and it comes from a percentage of the fee paid by the distributor to the studio.
Broadcasting has been on the decline since streaming began. With that, whatever slice of the pie that crew members have been getting on broadcasting-only projects is lessening. And this trend is worrying and unsustainable for many involved.
However, some movies and TV shows that aren’t exclusive to the streaming site can find unprecedented new life on streaming platforms. “Suits”, the legal drama series that premiered over a decade ago is now one of the highest-viewed series of this year. Of course, there are other series or movies that might find success on such platforms such as “The Office” and even “Breaking Bad”.
However, with streaming, the numbers weren’t always transparent. As such, big corporations could take advantage of this loophole. The numbers weren’t exactly revealed, therefore, there could be less money involved in a payout.
In the case of “Breaking Bad”, lead actor Aaron Paul spoke out on the state of residuals from Netflix.
“Shows live forever on these streamers and it goes through waves. And I just saw the other day that ‘Breaking Bad’ was trending on Netflix, and it’s just such common sense and a lot of these streamers, they know they have been getting away with not paying people just fair wage and now it’s time to pony up,” lamented Paul.
Some of the worst cases came when streaming sites began purging their catalogue. Disney+ ‘Thanos-snapped’ some original movies and shows from the site in order to save funds. The “Willow” series, the doomed “Artemis Fowl”, and even a recent release like “Crater” all mysteriously vanished in a bid to avoid payouts for what were deemed ‘under-performing’ titles. This meant that there was no need to provide any residuals to crew members, because… the project does not officially exist on their platform.
JUDGEMENT DAY
With the rise of artificial creating tools like ChatGPT and AI-generated art, there has been a back-and-forth on the capabilities and ethics of using such devices.
The advent of AI has proven that it can aid in simplifying or removing processes that would have otherwise seemed tedious. We strive every day to get more done with the touch of a single button. Machine learning has become more important and is constantly developing in its integration with various consumer products.
Yes, your mobile devices contain some of the most commonly used applications of AI. Facial recognition, automated processes, and voice assistants are some of the handiest tools in the palms of your hands.
AI has also been developed in other sectors. Now, financial solutions seek big-data models. Corporate sectors are improving productivity with better AI-assisted workflows.
However, in the case of sectors dealing with artistic ventures, there has always been a debate on the borders of their applications.
An example of good use of AI within sectors like these would be to cut down time on editing videos or to create sounds for music production. So, instead of starting from scratch, you would have a way to automate colour grading or mix your sounds to where you generally need them to be and then continue from there.
On the other hand, when it comes to the parts which generally require a huge amount of original ideas and creativity to start off, AI prompts have been frowned upon. Remember how much flak apps like Midjourney got because they were taking images from all over the Internet and blending them in order to create something?
To many artists, this was a major threat to creativity and also their jobs. Corporations decided to save money on hiring graphic designers, opting instead to type in a prompt and generate an image to be used instantly. When Marvel announced that they used AI software on the opening credits of “Secret Invasion”, it instantly drew headlines for the wrong reasons with many condemning the audacity to use such devices and undermining the work of actual creativity.
In the case of movie-making, studios openly flirted with AI. To them, it was an idea that they immediately embraced with open arms due to the amount of output that they got with little to no cost being expended. ChatGPT was being touted as a new tool to generate scripts. This did not go down well with the writers as some deemed the use of it to be an insult to their expertise.
There was a genuine concern that Chatbots would be used to generate initial scripts with writers then being brought on to rewrite them for a smaller amount of pay. Or it could go the other way whereby an initial script, would be rewritten by the studio themselves using AI. Where would the credit go? Would ChatGPT be part of the scrolling of the scrolling credits?
Frankly, this was the terrifying notion to these working individuals that their livelihoods could soon be snapped up by an intangible being. They noted that yes, a chatbot could still be used as a tool for creation or improvement. Nevertheless, studios did not see it that way, and some of them thought of it merely as a fad that they had to capitalise on.
If you thought that was already bad enough, in the case of the actors, it’s probably much worse. Back in August, it was reported that a background actor for “WandaVision” had her likeness scanned without much details on how it was going to be used later. While the studio claimed that this was only going to be used for the project she was in, she and many others were all caught off guard by such a practice.
This is infinitely terrifying if you think about it.
The first episode of the sixth season of “Black Mirror” comes to mind. In that episode, the main character discovers that she, along with a bunch of other individuals around her are all artificially generated characters based on real-world actors.
Someone having the right to your face would mean that your existence can be invalidated by someone else. For an aspiring performer, this can be a huge blow because, well, someone already owns your likeness. So, why would they need to hire the original when they can contort your emotions in Unreal Engine 5?
Besides, how are you supposed to control these deepfake activities? What if it was used in a scene without your consent? It just didn’t feel all that ethical.
WHO… WHAT’S BEEN AFFECTED?
While it might not have seemed like movies were out of business due to the box office constantly ticking with releases every week, that’s simply not the case. Yes, movies have been released ever since the strike began because these are productions that have accomplished the shooting process or have already been completed in totality.
However, since the dual strikes, an entire slate of movies and TV productions have been pushed back to later dates in order to compensate for the lack of resources. So, let’s take a look at some of the high-profile victims:
- “Dune” (Original release date: 3 Nov 2023 / New release date: 15 Mar 2024)
- “Deadpool 3” (Original release date: 3 May 2024 / New release date: 26 Jul 2024)
- “Captain America: Brave New World” (Original release date: 3 May 2024 / New release date: 14 Feb 2024)
- “Snow-White” (Original release date: 22 Mar 2024 / New release date: 21 Mar 2025)
- “Ghostbusters: Frozen Empire” (Original release date: 20 Dec 2023 / New release date: 29 Mar 2024)
- “Mission Impossible 8” (Original release date: 28 June 2024 / New release date: 23 May 2025)
- “Challengers” (Original release date: 15 Sep 2023 / New release date: 26 Apr 2024)
Back when the writers commenced their labour stoppage, productions could still proceed. However, they could not employ the services of the scribes. This was in a way, disruptive, but at this point in time, it still felt like work could go on as planned.
There were a bunch of notable stories from back in May whereby Ryan Reynolds could not do improv for “Deadpool 3”, along with Tony Gilroy, showrunner of “Andor” being pressured to stop all work on the show despite him not doing any writing.
However, the real roadblock came when SAG-AFTRA stepped in to join in on the picket lines. Needless to say, having no actors on set would mean that you could not tell any story that required them to be in the picture. So, unless, you made adjustments to your script, made the main subjects inanimate trees, rocks, and a stray cat, along with having absolutely zero dialogue, there would be no movie.
However, the reach of the strike extended far beyond primary duties. Have you noticed that there have been only a few actors talking about their work in recent months?
Actors were not allowed to promote movies they were in. They could not do press, post about the movie on social media, or even do cosplay. For example, shows like “Ahsoka” and “Secret Invasion” along with films like “Five Nights at Freddy’s” and most recently, “The Marvels” couldn’t have their main stars do interviews for the press tours. Instead, other members of the production crew such as composers, production designers, etc. were given more opportunities to talk about their work.
Therefore, this was a major blow to the marketing of films released during this period. In retrospect, this was probably alright for some TV productions because generally, all you need is a trailer to hook you on. However, for a feature-length release, this could be a game-changer. In the case of “The Marvels”, you could slowly see the panic form with footage constantly being released in the hopes that audiences would latch on.
It is worth noting that some titles were exempted from the whole shutdown. These were productions or studios that were given waivers due to them agreeing to the terms set by the WGA and SAG-AFTRA from the very start. A24, the company behind last year’s Academy-Award-winning hit, “Everything Everywhere All At Once” was one of the studios that were allowed to proceed with their projects, “Death of A Unicorn” and “Mother Mary”.
Some titles like “The Iron Claw” starring Zac Efron, and “The Hunger Games: Ballad of Songbirds and Snakes” were also given an exemption due to an interim agreement. This meant that the stars of the projects could attend red carpets and do press for their movies.
In general, the strikes have taken a heavy toll, with the economy in South California losing more than an estimated $6.5 billion. 45000 jobs were lost during this period. This brought financial distress for many of the guild members during this period, of which many had to be supported by funds and donations.
HURRAH!
On 24th September and 9th November, the WGA and SAG-AFTRA ended their strikes respectively. This was a massive comfort to all who were involved after months of protesting and walkouts during table meets.
As of now, the WGA and SAG-AFTRA have ratified 3-year deals, which would mean all of these terms have to be honoured effective immediately and there cannot be another strike within these 3 years. The WGA described their deals as exceptional and felt that writers would be gaining from this new contract. SAG-AFTRA similarly expressed their gratitude for their deal and lauded the extraordinary scope of it.
“We have arrived at a contract that will enable SAG-AFTRA members from every category to build sustainable careers. Many thousands of performers now and into the future will benefit from this work.”
Of course, many actors and writers are happy to be back to work on their craft. The general sentiment is one of relief and gratitude for what the unions and the members have been fighting for this whole time. Many actors have started posting Instagram dumps from the movies and TV shows that they had been in while the strikes were going on and of course, sharing their appreciation for fans of the works that were not allowed to talk about for the past 4 months.
AND ACTION!?
Well, we can safely say that the filmmaking business is finally back in session with many individuals eager to get back to work. “Deadpool 3”, “Gladiator 2”, and “Beetlejuice 2” are ready to restart filming, with the latter reportedly only needing 2 more days of shooting. Clapperboards ready, andddd action!
So for this new deal, it pretty much covers the wants of the two foundations and sets the ball rolling for a better pay system along with better rights. Let’s take a look at some of the new terms for the WGA and SAG-AFTRA:
- A new system has been put in place to determine bonuses and residuals from streaming
- If a streaming project has a $30 million budget (or more), writers will receive an 18% increase from their initial pay
- Studios have to now be transparent about streaming data, but only the WGA and SAG-AFTRA would be able to access these types of confidential statistics
- AI cannot be used to replace writers and writers cannot be forced to use AI to work. They may, however, choose to use it, with the permission of the studio
- AI-generated work cannot be called “source material” and employers have to disclose whether material given to writers is generated by AI
- AI models are not prohibited, but the WGA reserves the right to refuse its use if and when they want to
While this is indeed a triumph, the effect of labour stoppages will continue to trickle in over the coming months. High-profile projects that have been delayed due to the strike might face more pushback. We can expect studios to scuffle and reshuffle their priorities within the next few months. Marvel Studios’ “Blade” has been pushed back, but we can see it facing another delay yet again.
We might (though not necessarily) expect a decline in quality for certain projects, in terms of writing or production quality due to expedited project timelines. It could echo the writer’s strike of 2007 whereby there was a noticeable decline in the movies that came out in 2008 and 2009. Take “Transformers: Revenge of The Fallen”, “X-Men Origins: Wolverine”, “Terminator: Salvation” and “Quantum of Solace”, all of which felt like they had more potential than what was in the final product.
Movies that are already filming might end up fine as they might also have buffers for reshoots if necessary. The real nutcase here would be movies that need to release at the start of 2025 or late 2024 and are still sticking to it. That would pose a problem in making sure that quality exists for the project as it might be too rushed if it’s a $100 million one.
With regard to other duties, writers have already been back at it for a month or so. As for actors, they can attend Comic-Con and talk about their projects now.
As for awards shows, only the Emmys have been delayed so far. Instead of taking place in September this year, it will now be held in January. With the awards season up and coming, it will probably go on as usual since the strikes ended before the kickoff at the end of the year.
So, all in all, we are thankful that an industry is back to honing its craft and making magic. Despite whatever you feel about the products of this industry, there is no doubt that there are hardworking and passionate souls that drive the very heart of it. Half of the year was dedicated to this tussle and having a conclusion to it is indeed a sigh of relief.
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