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Writers' Guild to vote to authorize strike, paving way for potential writers' strike

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This has been brewing for a bit, but came to a head last night.

http://deadline.com/2017/03/writers-guild-strike-authorization-vote-letter-wga-contract-1202051597/

This would not be a vote to strike but to authorize the guild’s board of directors to call a strike if further talks fail to produce a deal.

Management’s Alliance of Motion Picture & Television Producers fired back tonight, saying the guild “broke off negotiations” but that the producers’ negotating team is “ready to return to negotiations when they are.”

The negotiators provided a glimpse at the progress or lack thereof on the main issues on WGA’s agenda. The letter says the companies offered nothing on pension and rollbacks on the guild’s health plan and rejected WGA’s family leave proposal. There have been some small gains for comedy-variety writers in pay TV.

A strike vote had been looking like a real possibility this afternoon, according to Deadline’s Dominic Patten and David Robb, with one source with intimate knowledge of the ongoing talks saying, “That’s the way the wind is blowing.” A strike-authorization vote among senior WGA officials takes the situation to a precipice Hollywood has not really been at since 2007. That, of course, is when the 100-day writers strike happened.

Negotiations with the AMPTP on a new three-year film and TV contract began March 13 in an atmosphere some described as “tense,” while others called it “cordial.” The current contract expires May 1, so there is time to make a deal.

The letter the WGA (the union of writers) sent its members last night from the link above:

Dear Colleague,

The initial two-week bargaining period agreed to by your Guild and the AMPTP concludes at the end of the day today. We do not yet have a deal. We will continue to bargain in good faith to make such a deal. But, at this point, we want to let you know where we stand.

We began the negotiations with two truths about the current state of the business at the heart of our proposals:

First, that these have been very profitable years for the companies. This past year they earned $51 billion in profits, a record.

Second, that the economic position of writers has declined sharply in the last five or so years. Screenwriters have been struggling for a long time. They are now joined by television writers, for whom short seasons are at the core of the problem. In the last two years alone, the average salary of TV writer-producers fell by 23%. Those declines have not been offset by compensation in other areas. In Basic Cable and new media, our script fees and residual formulas continue to trail far behind those in broadcast – even though these new platforms are every bit as profitable as the old model.

In light of all this, we sought to tackle a number of issues that directly affect the livelihoods of all writers.

–We asked for modest gains for screenwriters, most particularly a guaranteed second-step for writers earning below a certain compensation level.

–We asked for a rational policy on family leave.

–We sought to address chronically low pay for Comedy Variety writers.

–We asked for 3% increases in minimums – and increases in the residual formula for High Budget SVOD programs commensurate with industry standards.

–We made a comprehensive proposal to deal with the pernicious effects of short seasons. This included a limit on the amortization of episodic fees to two weeks, a proposal that sought to replicate the standard that had been accepted in the business for decades. It addressed, as well, the continued problems with Options and Exclusivity. And it sought to address the MBA’s outdated schedule of weekly minimums, which no longer adequately compensates writers for short terms of work.

–Finally, we sought to address script fee issues – in basic cable and streaming – but also in the case of Staff Writers. Unconscionably, our lowest paid members are now often held at the staff level for multiple seasons, with no compensation for the scripts they write.

What was the companies’ response to these proposals?

No, in virtually every case.

–Nothing for screenwriters. Nothing for Staff Writers. Nothing on diversity.

–On Family Leave they rejected our proposal and simply pledged to obey all applicable State and Fe deral laws – as if breaking the law were ever an option.

–On short seasons, they offered a counter-proposal that addressed the issue in name only – thus helping no one.

–They have yet to offer anything on minimums, or on HBSVOD.

–They have made some small moves on Options & Exclusivity – some small moves for Comedy Variety writers in Pay TV. But that is all.

On the last day of these two weeks, the companies’ proposal has barely a single hard-dollar gain for writers.

$51 billion in profits and barely a penny for those of us who make the product that makes the companies rich. But that’s not all.

In response to our proposal to protect our Pension and Health Plans, this has been their answer:

Nothing on Pension.

And on our Health Plan, two big rollbacks.

First, they have demanded that we make cuts to the plan – $10 million in the first year alone. In r eturn, they will allow us to fund the plan with money diverted from our own salaries.

More, they’ve demanded the adoption of a draconian measure in which any future shortfalls to the plan would be made up by automatic cuts in benefits – and never by increases in employer contributions.

This, too, is unacceptable. The package, taken as a whole, is unacceptable – and we would be derelict in our duty if we accepted it.

Therefore, your Negotiating Committee has voted unanimously to recommend that the WGAW Board of Directors and WGAE Council conduct a strike authorization vote by the membership.

Once again, we are committed to continue negotiating with the companies in good faith to get you the deal we all deserve. We will continue to update you as things progress.

Respectfully,

The Negotiating Committee Members of the WGA West and WGA East

Chip Johannessen, Co-Chair
Chris Keyser, Co-Chair
Billy Ray, Co-Chair

Alfredo Barrios, Jr.
Adam Brooks
Zoanne Clack
Marjorie David
Kate Erickson
Jonathan Fernandez
Travon Free
Howard Michael Gould
Susannah Grant
Erich Hoeber
Richard Keith
Warren Leight
Alison McDonald
Luvh Rakhe
Shawn Ryan
Stephen Schiff
David Shore
Meredith Stiehm
Patric M. Verrone
Eric Wallace
Beau Willimon
Nicole Yorkin

Howard A. Rodman, WGAW President, ex-officio
Michael Winship, WGAE President, ex-officio
David A. Goodman, WGAW Vice President, ex-officio
Jeremy Pikser, WGAE Vice President, ex-officio
Aaron Mendelsohn, WGAW Secretary-Treasurer, ex-officio
Bob Schneider, WGAE Secretary-Treasurer, ex-officio

The producers response:

http://deadline.com/2017/03/hollywood-strike-authorization-wga-producers-respond-amptp-1202051621/

One day before negotiations originally were scheduled to end between the WGA and AMPTP, the labor tension in Hollywood is at a 10-year high. As the scribes now confirm Deadline’s exclusive of earlier today that a strike-authorization vote has been called, the producers shot back this evening with claims of bad faith from the other side of the table.

“The WGA broke off negotiations at an early stage in the process in order to secure a strike vote rather than directing its efforts at reaching an agreement at the bargaining table,” an Alliance of Motion Picture & Television spokesman told Deadline tonight. “Keeping the industry working is in everyone’s best interests, and we are ready to return to negotiations when they are.”

However, Deadline has learned that the AMPTP believed earlier that week that further talks would not be productive. The producers’ reps did not respond to requests for comment on this matter.

The last strike: https://en.wikipedia.org/wiki/2007–08_Writers_Guild_of_America_strike

Last strike 10 years ago lasted 100 days. The one in the 80s last 5 months.
 

Grizzlyjin

Supersonic, idiotic, disconnecting, not respecting, who would really ever wanna go and top that
Peak TV is cancelled.

Although, purely as a study in watching behavior, it would be interesting to see what impact this strike would have. Streaming services are more ubiquitous compared to 10 years ago. Frankly, you could cancel an entire season of TV and I still won't have caught up with all the shows in my Netflix instant queue. Let alone my Starz, Hulu, and Amazon Prime.

Hope they come to a fair agreement though.
 

Ogodei

Member
The strengthening of scripted TV since 2007 (and relative decline of reality) should give them more leverage, you'd think.
 
Don't think this would have the same impact today as several years ago. Streaming definitely caught on but I wish them all the best; writers need to be given their fair due for their hard-work.
 

Maddocks

Member
if they strike, feel bad for tv shows on the bubble but are good enough to get at least 1 more season to get a good ending out. Boom, those shows are just going to die.

And other shows....they will become heroes season 2.
 

Cipherr

Member
Man it sucked for TV lovers back when it happened last time. I really hated it; but wow, look at what they requested and what the reply was.

Basically told the lifeblood of the TV industry to go fuck itself. I cant blame them if they do strike.
 
I hope you're all ready for the next few Marvel, Star Wars, Jurassic Park, Alien, Fast and Furious, DC, and Transformers films to all suck ass as they rush production on them.

Or in the case of the latter two, suck even more.
 
Anyone knows what movies were affected by the last strike? I only know that Quantum of Solace's script was rushed because of it.
 
Thank fucking god Twin Peaks has already been filmed.

My thoughts exactly lol, also glad new Fargo and BCS in the can before this could go down (writing anyhow). Though depending how long this potential strike goes I can see it affecting pre-production on those next seasons heavily. Not sure what avg turnaround time is for most shows though for new season airing to next one getting worked on.
 

Syriel

Member
Let's hope they receive a good deal fairly soon. I don't want a 2007-2008 repeat.

Solidarity and good fortune to the talented creatives as they fight for basic dignity and fair treatment.

It depends on how you define "good." Salary minimums from the current contract are higher than what most engineers in Silicon Valley (the typical example of "overpaid gentrifiers") get paid each week. Any role above the minimum is going to get paid more.

That doesn't count residuals or bonus payments.

Service Network Minimum Cable Minimum
30 Minute Story $8,062 $5,432
30 Minute Teleplay $17,343 $8,821
30 Minute Story + Teleplay $24,183 $13,557
60 Minute Story $14,192 $9,871
60 Minute Teleplay $23,399 $17,096
60 Minute Story + Teleplay $35,568 $24,768
Staff Writer - 6 Week Guarantee $4,318/week same as network
Staff Writer - 14 Week Guarantee $4,014/week same as network
Staff Writer - 20 Week Guarantee $3,703/week same as network
Any Level Above Staff Writer - up to 9 Weeks $8,055/week same as network
Any Level Above Staff Writer - 10 to 19 Week Guarantee $6,712/week same as network
Any Level Above Staff Writer - 20 Weeks or More Guarantee $6,036/week same as network

Source:
http://defamer.gawker.com/heres-what-your-favorite-television-writers-make-1485130956
http://www.wga.org/contracts/contracts/mba

The primary reason individual writers are seeing salaries fall is the combination of shorter seasons (so if you're staff, a 10 episode show is only guaranteeing 14 weeks of pay, versus older shows where a 24-26 episode season was a lock) and competition for those positions.

Shorter seasons means at any given time there are more writers competing for the next contract.

That's not to say that TV writers shouldn't be trying to negotiate a better deal for themselves. Everyone wants to get the biggest paycheck they can get, but it's not like TV writers are working for minimum wage. They're already paid better than the vast majority of writers in the US.
 

Saladinoo

Member
My thoughts exactly lol, also glad new Fargo and BCS in the can before this could go down (writing anyhow). Though depending how long this potential strike goes I can see it affecting pre-production on those next seasons heavily. Not sure what avg turnaround time is for most shows though for new season airing to next one getting worked on.

Yeah I can't remember the details of the previous strike but I'm sure it affected everyone, I imagine people were worried about not getting paid and so the whole thing probably came to a standstill.

God I'm excited for Twin Peaks. Have you read the novel?
 

sirap

Member
Watch as studios slash post-production budgets instead. Your next Marvel blockbuster will be shopped to lowest bidder.

Credit list will be twice as long and full of Asian names.

Sad reality of our industry. In a different timeline we'd all get decent pay and security...but there are plenty of VFX "sweatshops" in Asia willing to take the work (I worked in one for a couple of years lol)
 

Volimar

Member
Does this mean I finally get Dr. Horrible 2?

Here's hoping.

sHoZrQc.jpg
 
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