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100 Days Later, Hollywood’s Writers Are Nonetheless on Strike

Hollywood has formally reached the a hundredth day of the Writers Guild of America’s strike towards the Alliance of Movement Image and Tv Producers, surpassing the size of the 2007 writers’ strike and leaving either side of the negotiations feeling pissed off and despondent. In an assertion made to the LA Instances, Chris Keyser, co-chair of the WGA’s negotiating committee, and negotiating committee member David Goodman stated reaching this 100 day mark is “a milestone of disgrace for the AMPTP.” 

“The refusal to take writers’ cheap proposals significantly has precipitated the WGA strike to final 100 days and counting; it serves solely as a milestone of disgrace for the AMPTP,” stated Keyser and Goodman. “They and their member studios are wholly liable for the over three-month shutdown of the trade and the ache it has precipitated employees and all others whose livelihoods relies on this enterprise.”

The 2007 writers’ strike towards the AMPTP lasted a complete of 99 days, from November 5, 2007 to February 12, 2008. Fifteen years in the past, the WGA’s calls for centered on elevated writers’ salaries on the daybreak of the streaming age, and the AMPTP resumed negotiations with the writers simply 21 days into their strike. Now, as streaming represents a a lot bigger share of the leisure trade, studios are holding out for longer. AMPTP head negotiator Carol Lombardini solely returned to the desk with the WGA on Friday, August 4th—95 days into the strike—to no avail. 

Whereas showing on The Hollywood Reporter’s podcast “Prime 5, Keyser stated that Lombardini was solely keen to debate a few of the WGA’s calls for, which embrace a minimal room dimension for writers, minimal variety of weeks of employment, success-based residuals on streaming packages, and protections towards the usage of AI. “Issues are cordial with the AMPTP,” stated Keyser. “Persons are not yelling at one another. All the pieces may be very skilled; coldly skilled, in all probability.”  

He went on to focus on the importance of the 100 day mark, shaming the AMPTP for permitting the work stoppage to proceed for this lengthy. “There’s a way someway that you just label one thing 100 days prefer it’s some form of celebration,” stated Keyser. “It’s an anniversary of disgrace for the AMPTP, let’s be clear about that. There was that early remark within the press about attempting to starve us, after which they walked that again. However after all they’re. We are able to make a TV present in 100 days; they’ll’t appear to get again into the negotiating room and have one substantive dialog. It’s a day of infamy for the AMPTP. It’s shameful.”

The present WGA strike can be longer then the 96-day writers’ strike in 1981—which led to a deal that gave writers assured residuals from gross sales in videocassettes and pay TV. Nevertheless, it is nonetheless not the longest writers strike in union historical past. That distinction belongs to the 1988 writers’ strike, which targeted on residual hikes and extra artistic management for writers. That one lasted 22 weeks, or roughly 154 days. As for when this writers’ strike might finish, Keyser instructed THR that there’s no strategy to know for certain. “As soon as they get right into a room they usually’re open to having actual conversations, you do go very quick,” he continued. “Actual negotiations don’t take very lengthy.”

From the seems of it, it might be some time earlier than actual negotiations resume. The WGA strike additionally coincides with a SAG-AFTRA strike, creating the primary twin strike in Hollywood in 63 years. That final twin strike, in 1960, lasted 148 days for the WGA and in the end created the residual mannequin that each writers and actors are preventing to enhance right this moment. Based on Selection, even when the AMPTP had been to resolve issues with the WGA, writers will reportedly refuse to cross the SAG-AFTRA picket line till their deal is secured out of union solidarity. 

“With SAG by our aspect, we’re extra highly effective than ever,” stated Keyser. “There can be no path ahead for writers or for actors who don’t say, “Sufficient.” There is no such thing as a mercy right here; there’s solely a revolution that comes out of our energy. And that’s what we intend to realize.”