Taking a Stand in Hollywood: WAG and SAG-AFTRA Strikes Explained

Written by: Emilia Lovering

N.B As of the date of writing this article, negotiations between SAG-AFTRA and Alliance of Motion Picture and Television Producers (AMPTP) are still ongoing.

As many of you may be aware, this summer saw almost unprecedented levels of striking in Hollywood, as both the Writers Guild of America, as well as the Screen Actors Guild – American Federation of Television and Radio Artists both went on strike, protesting working conditions in Hollywood. This article seeks to examine the causes, impacts and results of both strikes.

WGA Strike:

The 2023 Writers Guild of America Strike is the largest strike action taken by screenwriters in America since the 2007-8 strike over residuals based on DVD selling, as the Guild argued that residuals were a key part of any writer’s income. Also, in this strike it was agreed that all streaming cinemas were subject to the Guild’s Minimum basic wage. However, in 2023, this agreement has not stood the test of time subject to new streaming services, as the amount of media that was put out straightaway instead on cable TV increased dramatically. Essentially, this means that more and more writers are being paid a minimum salary for the work that they do. Additionally, streaming services are much more likely to offer fewer writing jobs and shorter contracts – effectively becoming gig writers. Reducing writers’ rooms and the amount of time writers are able to spend on set dramatically decreases the options available to new writers coming into the industry, as they are offered much less experienced than their more well-established counterparts. Instead, unpaid internships have been offered by studios to ‘allow’ a writer to visit the set on the show that they effectively helped come into being. Moreover, the strike comes at a time where there is growing concern about automation in creative industries, where AI is being produced that creates scripts far closer to one created by a human in the industry – however, due the nature of Ais, such as ChatGPT, this work is able to be produced by sampling already-written works. Therefore, AI is at risk of taking writers jobs and using their intellectual properties, without giving writers due credit. The lack of respect given to writers by Hollywood is intolerable, with President Carol Lombardini of AMPTP saying, that writers should be grateful to have “Term employment.” (Thurm, 2023).

Thankfully, after what became the second longest strike in Hollywood industry AMPTP and the WGA finally reach an agreement. Although the exact results and wording of the agreement has not been released, we do know that the negotiation results in increases to minimum wage, compensation, pension, health fund rates, length of employment, size of writing teas and royalties. They also reached agreements regarding social media, where AI is banned from being used to exploit writers, although the writers themselves may be able to use ChatGPT in their own work. (Bar, 2023)

Writer’s Strike:
(Chris Pizzello / Associated Press)

SAG-AFTRA Strike

SAG-AFTRA faces similar problems to WGA, albeit from a different perspective. But much like the writers, they are also in disputes about residuals from shows – which are only guaranteed when shows are repeated on network television. On streaming services, the actor’s work can be kept up in perpetuity and they are not compensated for the levels of viewership, which is not shared by the networks. Despite attempts to resolve these disputes in 2019, the pandemic quickly shut down negotiations and undermined all progress taken. Similarly, actors receive far less of the profits of films when they are delivered straight to streaming – which many mid-budget films are. With streaming, actors face a flat payment whereas with cinema, the higher the box office takings, the more opportunity there is for an actor to be paid fairly for their contributions. And much like writers, the actors are at threat from the increased AI used in film. As I wrote about in 2022, regarding the use of ‘deep faking’ actors in film (insert link here), there is little to no legal protection for an actor’s image, which can be increasingly exploited by streaming services using new technologies. SAG-AFTRA is a union that may also be joined by influencers, which means that they also may be afforded greater security under possible agreements, yet, as many influencers have been involved in continuing to promote TV and film (forbidden under the SAG-AFTRA strike rules) they will banned from ever rejoining the union (Shoard, 2023).

Unfortunately for the actors and influencers, the results of the strike are still up for negotiation, yet AMPTP has now finally entered negotiations, willing to make new agreements.

Impacts of the Strikes:

Whilst the strike has been a triumph for the WGA, and will hopefully mitigate the effects on streaming and AI on the creative industries, there have been many serious effects for the creative industries. During the strikes, many film and crew workers in Hollywood, who also are facing unfair pay for the work they do, have been out of work for months. Many remain wholeheartedly in support of strike, yet thousands of dollars of income have been lost, not just in California, but also for the 1.7 billion people who work in the film industry outside of the state (Wilson, 2023). Many jobbing actors also are facing financial pressure, as the vast majority of actors do not make the kind of salaries, we envisage them having – many are having to rely on foodbanks and charitable donations in order for the strikes

to continue. Even UK film and TV workers have been forced to find new jobs and claim benefits due to Hollywood strikes (Breese, 2023). In order for the film industry to recover, AMPTP need to realise the value that writers and actors hold for Hollywood and compensate them fairly, before it becomes too late, and the film industry faces a max exodus of employees.

Bibliography

Bar, N. (2023, September 28). The Hollywood’s writers’ strike is over – and they won big. Retrieved from Vox: https://www.vox.com/culture/2023/9/24/23888673/wga-strike-end-sag-aftra-contract

Breese, E. (2023, September 16). UK film and TV workers forced to find new jobs and claim benefits due to Hollywood strikes. Retrieved from Big Issue: https://www.bigissue.com/news/employment/writers-strikes-uk-tv-film-industry-jobs-benefits-hollywood/

Shoard, A. P. (2023, July 14). The Hollywood actors’ strike: everything you need to know. Retrieved from The Guardian: https://www.theguardian.com/culture/2023/jul/14/the-hollywood-actors-strike-everything-you-need-to-know

Thurm, E. (2023, May 5). All About the Writers Strike: What Does the WGA Want and Why Are They Fighting So Hard for it? Retrieved from GQ: https://www.gq.com/story/writers-strike-2023-wga-explained

Wilson, T. (2023, August 10). Hollywood strikes’ economic impacts are hitting far beyond LA. Retrieved from NPR: https://www.npr.org/2023/08/10/1192698109/hollywood-strikes-economic-impacts-are-hitting-far-beyond-la#:~:text=%22It’s%20devastating%20to%20this%20industry,of%20money%20lost%20is%20tremendous.%22

GROW 2.0 – Being Human in an AI World

On Saturday 21st September we host our second Grow Pastoral Festival. The theme for this year is an examination of what it is to be human in a machine age. What questions should we be asking about the way technology affects our lives and what are our hopes for the future? More specifically, how will our young people develop and grow in a fast-paced, algorithmically driven society and what might education look like in the future?

 
In the morning session Professor Rose Luckin and Professor Robert Plomin will be giving keynote addresses, and then talk with our Director of Digital Learning & Innovation, Rachel Evans.
Prof Luckin specialises in how AI might change education; Prof Plomin has recently published Blueprint, a fascinating read about genetics and education. We can’t wait to talk about how education might get personalised, and how that change might affect our experience of learning.

In the afternoon we’ll dive into some provocative debate with Natasha Devon, Hannah Lownsbrough and Andrew Doyle, addressing questions of identity, wellbeing and community in an online age with our own Assistant Head Pastoral, Ben Turner.

So what kind of questions are in our minds as we approach this intellectually stimulating event? Ben Turner brings a philosophical approach to the topic.


Is our ever-increasing reliance on machines and subscription to the ‘universal principles of technology’[1] eroding our sense of empathy, compassion, truth-telling and responsibility?



Our smartphones give us a constant connection to an echo-system that reflects, and continuously reinforces, our individual beliefs and values. Technology has created a world of correlation without causation, where we understand what happened and how it happened but never stop to ask why it happened. Teenagers are understandably susceptible to an eco-system of continuous connection, urgency and instant gratification. It is these values that they now use to access their world and that inform them what is important in it.

Are tech giants like Amazon, Google and Facebook creating a monoculture that lacks an empathy for its surroundings? If we all become ‘insiders’ within a technology dominated society, pushing instant buttons for everything from batteries to toilet roll, are we losing the ability to see things from a fresh perspective? By raising children in a world of instant access and metropolitan monism are we creating only insiders; young people who will never gain the ability to step back and view what has been created in a detached way. How as parents, schools and communities do we keep what is unique, while embracing the virtues of technological innovation?

Is social media destroying our free will?

If you are not a determinist, you might agree that free will has to involve some degree of creativity and unpredictability in how you respond to the world. That your future might be more than your past. That you might grow, you might change, you might discover. The antithesis to that is when your reactions to the world are locked into a pattern that, by design, make you more predictable – for the benefit of someone or something else. Behaviourism, developed in the 19th Century, believes in collecting data on every action of a subject in order to change something about their experience, often using punishment or reward to enact the change. Is social media, through its algorithms, gratification systems and FOMO, manipulating our actions and eroding our free will?

Social media is pervasive in its influence on the beliefs, desires and temperaments of our teenagers and you do not have to be a determinist to know that that will lead to a disproportionate level of control over their actions. Does social media leave our young people with no alternative possibilities; locked in a room, not wanting to leave but ignorant to the fact that they cannot?

Is social media the new opium of the masses?

Social media has changed the meaning of life for the next generation. The change in human contact from physical interactions to those, arguably superficial, exchanges online is having not only a well-documented detrimental effect on individual young people but also on the very fabric and makeup of our communities.

In addition to the ongoing concerns about privacy, electoral influence and online abuse, it is becoming increasingly obvious that social media has all the qualities of an addictive drug. Psychologists Daria Kuss and Mark Griffiths wrote a paper finding that the “negative correlates of (social media) usage include the decrease in real life social community participation and academic achievement, as well as relationship problems, each of which may be indicative of potential addiction.”[2]

That is not to say that everyone who uses social media is addicted. However, the implications of the ‘heavy’ usage of social media by young people are increasingly painting an unpleasant picture. The UK Millennium Cohort Study, from the University of Glasgow, found that 28% of girls between 13 and 15 surveyed spent five hours or more on social media, double the number of boys survey who admitted the same level of usage. Moreover the NHS Digital’s survey of the Mental Health of children and young people in England[3], which found that 11 to 19 year olds with a “mental disorder” were more likely to use social media every day (87.3%) than those without a disorder (77%) and were more likely to be on social media for longer. Rates of daily usage also varied by type of disorder; 90.4% of those with emotional disorders, for example, used social media daily.

Panel Discussion

However, there is more to this than just the causal link between the use and abuse of social media and poor mental health. With the march of technology in an increasingly secular world, are we losing our sense of something greater than ourselves? Anthony Seldon calls this the “Fourth Education Revolution”, but as we embrace the advances and wonders of a technologically advanced world do we need to be more mindful of what we leave behind? Da Vinci, Michelangelo and other Renaissance masters, not only worked alongside religion but also were inspired by it. Conversely, Marx believed Religion to be the opium of the people. If social media is not to be the new opium, we must find a place for spirituality in our secular age. Even if we are not convinced by a faith, embracing the virtues of a religious upbringing seems pertinent in these turbulent times. Namely inclusivity, compassion and community, because if we do not, then very quickly the narcissistic immediacy and addictive nature of social media will fill the void left in our young peoples’ lives, becoming the addictive drug that Marx forewarned against.


References:

[1] Michael Bugeja, Living Media Ethics: Across Platforms, 2nd Ed. 2018

[2] Online Social Networking and Addiction – A review of Psychological Literature, Daria J. Kuss and Mark D. Griffiths, US National Library of Medicine, 2011

[3] November 2018