The Hollywood writers’ strike enters its 100th day on Wednesday, with contract negotiations at a standstill and protesters on the picket lines demanding their demands be met. The strike began on May 2 after discussions between the Writers Guild of America (WGA) and major studios reached an impasse on issues such as compensation, minimum staffing of writers’ rooms, residual payments in the streaming era, and regulation of artificial intelligence. The entertainment industry is facing challenges with declining TV revenues, a sluggish movie box office due to the COVID-19 pandemic, and struggling streaming businesses.
David Zaslav, Chief Executive of Warner Bros Discovery, commented on the uncertainty caused by the labor unrest in Hollywood, warning investors that it could affect the company’s film slate and content production and delivery. Actors represented by the Screen Actors Guild also joined the strike on July 14, halting the production of scripted TV shows and films and impacting the entire entertainment industry.
Attempts to resume negotiations between the WGA and the Alliance of Motion Picture and Television Producers have not resulted in a firm date for returning to the bargaining table. The WGA expressed frustration over leaked details from a recent confidential session but reiterated their willingness to engage with the companies and resume negotiations.
Protesters on the picket lines are determined to fight for a fair deal and express their disappointment with the attitude of the AMPTP. Writers feel that the business is changing and losing its human touch, and their relationship with studio executives is no longer the same.
The strike has taken on a rhetoric of class warfare at times, with writers criticizing media executives’ high compensation. Disney CEO Bob Iger faced criticism for calling the union demands unrealistic. Writers are seeking a fair share of revenue as Hollywood capitalizes on new forms of distribution, and they want to participate in the resulting profits.
This strike, like past ones, addresses the industry’s exploitation of new distribution methods. The first strike in 1960 focused on residual payments for films shown on television, and a strike in 1985 demanded a share of revenue from the home video market. The 2007-2008 strike aimed to extend guild protections to new media, including ad-supported internet services. This time, residual payments for streaming services and the regulation of artificial intelligence are the central issues. Disney’s creation of a task force to study AI’s application in the entertainment conglomerate shows the significance of this topic. Writers fear that AI could permanently replace their jobs.
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