At this crucial moment in SAG-AFTRA negotiations, here’s some WGA history that SAG members should know.
In our 2007-08 strike, our leadership wanted to hold out a little bit longer to get the best deal. But 30 wealthy WGA members thought they knew better.🧵
When it comes to AI protections, SAG-AFTRA isn’t just fighting to protect their lowest-paid members.
They’re fighting to protect every performer in their union — and thousands of other jobs in the entertainment industry.🧵 hollywoodreporter.com/business/busin…
The AMPTP’s “last best final” proposal would allow them to body scan performers making *more than minimum* in TV and features.
Performers would get paid once. But studios would be allowed to profit off their AI likenesses without their approval forever — even after they’re dead.
This “Zombie Clause” from the AMPTP is obviously reprehensible and grotesque.
It also makes clear that NO member of SAG-AFTRA is safe from the studios’ greed.
The fact is that the studios and streamers don’t want to quit the entertainment business. So they’re gonna have to make a deal at some point.
The fact is that they are desperate to get actors back to work before they lose any more money.
The fact is that while AI is a real danger to SAG-AFTRA members’ careers, the technology is not ready for prime time yet. Right now, the studios have no other choice but to make a deal with you.
And if SAG doesn’t lock down AI now, 2026 might be too late.
A few high-profile members are pressing SAG-AFTRA negotiators to take a deal.
A unique challenge for Hollywood unions is that some members think success in *individual* negotiations makes them experts in union negotiations.
If anything, the opposite is true. Here’s why:🧵
When you get offered a job in Hollywood, that’s an individual negotiation. In this type of negotiation, the Venn diagram is two circles that are mostly overlapping.
You want to work for the company, they want to hire you, and you just need to settle a few issues to make a deal.
Because both parties in an individual negotiation *want* to work together, relationships and tone are very important.
The more a company wants to work with you, the more leverage you have to get a good deal.
Being too aggressive can piss people off and blow the whole thing up.
Instead of negotiating in good faith, it seems studios, and their anti-union allies are using scare tactics and outright lies to try to trick SAG-AFTRA members into pressing their leaders to take a bad deal.
Don’t confuse their fiction with facts:🧵
FICTION:
“Money from the new streaming percentage would go to the Union, not the members.”
FACTS:
This is a b.s. scare tactic. *All* residuals go to the union, which processes them and sends you checks. Been this way for decades. This is nothing new and nothing to be afraid of.
FICTION:
“If this doesn’t get resolved ASAP, shows will be canceled!”
FACTS:
The CEOs have foolishly let this drag on so long that the pipeline of content is running dry. You think they’re not gonna refill it? That the people who love a reboot won’t bring back shuttered shows?
Since the CEOs walked away from negotiations with SAG-AFTRA on Oct. 11, the AMPTP and Molly Levinson’s unionbusting crisis PR firm have been spinning out nothing but propaganda and outright lies.
With negotiations resuming tomorrow, it’s time to set the record straight.🧵
MINIMUMS:
SAG-AFTRA is seeking a significantly larger increase in minimums than the WGA and DGA got. But there are good reasons for that.
First, a 5% increase after 2 years of 6+% inflation isn’t a raise at all — it’s a pay cut.
The WGA got enough increases in other areas to compensate for the 5% increase in our deal. But SAG-AFTRA is a different union with different needs.
And performers *need* a significant increase in minimums.