People are understandably confused about how Drew Barrymore could be scabbing against the WGA and not against SAG-AFTRA.
So let’s take this opportunity to increase our union literacy. 🧵
Unions are complicated. They come in all shapes and sizes and can operate in a variety of different ways.
For example, both the WGA and SAG-AFTRA are called “guilds” rather than unions because they represent independent contractors instead of employees.
Within one union, there can be different bargaining units. A bargaining unit is a group of workers who negotiate together.
The WGA has separate bargaining units for news writers and new media journalists. But all our film and TV writers are covered under a single bargaining unit that includes daytime soaps, game shows, and talk shows.
SAG-AFTRA has a number of separate bargaining units. For example, they have separate negotiations and contracts for Commercials, Broadcasting, and Video Games (which they’re presently taking a strike authorization vote about — give ‘em hell, Fran.)
So SAG-AFTRA has one contract (called Netcode) that covers soaps, game shows, and talk shows. This contract was last renegotiated in 2022 and is still in effect. SAG-AFTRA members working on these shows are not on strike under *this* contract. sagaftra.org/members-ratify…
But, as we all know, SAG-AFTRA members covered under their TV, Theatrical, and Streaming contract are very much on strike.
Adding to the potential confusion, many SAG-AFTRA members — like Drew Barrymore — are employed under multiple contracts.
If she does a TV ad for shampoo right now, that’s fine. SAG-AFTRA’s Commercial contract is in effect and members are not on strike.
If she tried to do a movie for Paramount right now, that’s not fine. SAG-AFTRA’s TV/Theatrical/Streaming contract is expired and they’re on strike.
So: Drew Barrymore’s talk show is covered under SAG-AFTRA’s Netcode contract — which is not on strike.
As long as she doesn’t promote any of her old movies on the show, she’s not violating SAG-AFTRA’s TV/Theatrical/Streaming strike.
However (and it’s a big however)…
The Drew Barrymore Show *is* covered under the WGA’s film and TV contract (which we call our MBA). So while Drew Barrymore is not a WGA member, her show employs WGA writers who are currently out on strike. directories.wga.org/project/120213…
While the opening monologues, jokes, and interviews on talk shows may seem spontaneous, a huge amount of writing work goes into every episode. (I mean, if it didn’t, does anyone really believe the studios would pay for writers they didn’t need?)
By going back on the air without her writers, Drew Barrymore is 100% ensuring that *someone* — either herself, one of her non-writing producers, or all of the above — will be doing the writing work that WGA writers normally do.
Which brings us to perhaps the most important term that every union member should know:
SCAB
Any worker who takes a striking worker's place on the job is called a SCAB.
So, by returning to work on her talk show, Drew Barrymore is not violating SAG-AFTRA’s strike rules. But if she goes through with this tomorrow, she will absolutely be violating the WGA’s strike rules — and those rules do apply to non-members. wgacontract2023.org/strike/strike-…
While it’s doubtful that Drew Barrymore cares about being banned from joining the WGA, it’s a safe bet she cares about her reputation. And I hope she cares about her writers.
It’d be heartbreaking to have someone you know and trust step in to take your job while you’re on strike
It’s not too late to do the right thing @DrewBarrymore. Yes, you’re contractually obligated, but you’re also Drew Barrymore. You have a lot of influence and power. You stood with the writers in the first weeks of our strike.
Stand with us now.
#WGAStrong
Correction: True to form, @adamconover reached out to “ruin” one thing in this thread, rightly pointing out that ACTUALLY writers and actors are classified as employees — not independent contractors. If we were classified as ICs, we would be ineligible to have a union at all.
That’s what laws like CA’s AB5 are about - making sure companies can’t unionbust by misclassifying employees as ICs.
And the unionbusting Prop 22 was about classifying drivers for Uber, Lyft, Doordash, etc. as ICs in order to make them ineligible for unionization.
The “guild” in our names doesn’t have any definitional difference under labor law. It may have been chosen because of an older meaning of the term.
It is not too late for @DrewBarrymore to stop this and do the right thing.
If her concern is paying the crew, it seems like someone who was born rich and has starred in hit movies since childhood might be able to find a better solution than working with scab writers. #WGAStrong
And by the way, do you know why @DrewBarrymore was born rich and got richer?
Because her father, grandfather, great aunt, great uncle were all in UNIONS.
Without rights and residuals negotiated by unions, Ms. Barrymore would have just a fraction of the wealth she enjoys.
@DrewBarrymore I really hope @DrewBarrymore changes her mind and does the right thing, and I hope that @SAGAFTRA leaders like @frandrescher help her understand the irreparable harm she’s about to do both her own reputation and the labor movement. #SAGAFTRAStrong #WGAStrong #UnionStrong
After today’s WGA message called out the studios’ and steamers’ failure to get on the same page, the AMPTP has released a statement of their own — and they’re trying to rewrite the past. But there’s just one problem:
We have receipts.🧵
Two days after the AMPTP pulled their dirty trick of trying to go around our negotiators by releasing their version of their 8/11 counter directly to the public, the WGA released this detailed timeline of events: wgacontract2023.org/announcements/…
But now, a full 28 days after their one and only counter offer, the AMPTP has released their own timeline of events — one that conveniently omits their 8/22 dirty trick and tries to make it seem like the WGA is the problem rather than their own failure to agree on a counter.
Studio CEOs should be talking about their response to out 8/15 counter, but instead, they’re suspending big overalls. Why? Simple.
1. They need the money.
2. They’re hoping to trick a group of high-level writers into publicly criticizing the Guild. 🧵 deadline.com/2023/09/warner…
Through this strike, our biggest strength has been the unwavering solidarity of our membership. And this includes the overwhelming majority of showrunners — as demonstrated by their constant presence on the picket lines and generous donations to help people weather the strike.
But the studios don’t need all high-level writers to break ranks. They only need a few. And they know this.
In ‘08, it was just 30 writers who threatened to scab if we didn’t take the DGA deal, ending that strike prematurely & stopping us from getting higher streaming residuals.
“Whatever short-term financial gain the studios represented by the [AMPTP] hoped to gain by forcing the first dual strike of writers and actors in 40 years has long since been overshadowed by all that they are losing.” #WGAStrong #SAGAFTRAStrong latimes.com/entertainment-…
“The writers and actors have already won the battle of solidarity and righteousness; the question now is how long before the studios get over themselves and make a deal.”
“Netflix may continue to boast of the viewers it’s attracting with old series… but if reruns are your business plan, you need a new business plan.”
When Molly Levinson tweeted this resounding call last year, it seemed like she was someone who stood with the workers.
But I guess her call wasn’t that resounding because now — just over one year later — she has sided with the AMPTP and signed on to help them union-bust.
It’s disappointing that Ms. Levinson, who held herself out as a champion of labor and fair pay would seemingly abandon her values to help billionaire CEOs making $30B in profit every year try to screw workers out of a reasonable cost-of-living raise the studios can easily afford.
But it’s ultimately a waste of her time and the studios’ money. After 116 days and counting, our members know how to read between the lies.
We won’t be tricked.
We won’t be manipulated.
We won’t be divided or deterred.
In a desperate move, the AMPTP has released their proposals publicly. Not only are these proposals still inadequate, they are an attempt by the bosses to divide our members, hoping we’ll start arguing with each other over which parts we can and can’t live with. Don’t fall for it.
They know they can’t beat our negotiators in the negotiating room, so they’re trying to negotiate directly with us. Don’t let them.
Writers are used to this slimy move. When we’re making a deal, producers will call us complaining our reps are crazy and asking for too much.
Whenever they try to pull that, there’s only one right answer: “Talk to my reps.”
That’s what we need tell the AMPTP here. We have a brilliant, experienced negotiating team of MBAs, lawyers, and union leaders. They have the studios on the ropes. We’re winning, and they know it.