Writer's and Actor's Strike 2023: Aaaaand Scene...That's a Wrap!

tremonthustler1

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ORDER_66 said:
So when are we gonna start seeing shows go off the air in favor of reruns...:patrice:
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Pretty much unless your show was pushed back, you didn't finish your show, so it's gonna be game shows, some reality shows that are basically done and British imports for anything new. Everything else will be reruns.

NBC is gonna look the most normal because they were already filming for the following season for some shows before the strike.

ABC already pushed back all their good scripted shows to midseason.

If it extends further into the summer, TV is gonna look like Covid came back
 
storyteller

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I wonder if this'll lead companies to start buying more international shows. The cynic in me imagines they'd dodge paying writers and look for the next Squid Game to buy already produced and just in need of a dub. But I have no clue about how this works and this is pure speculation.
 
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deadline.com

WGA, Saying “Era Of Divide & Conquer Is Over,” Accuses AMPTP Of “Gaslighting” Union Members & Telling A “Lie” About The Breakdown Of Contract Talks

The WGA accused the Alliance of Motion Picture and Television Producers of telling a "lie" about the breakdown of contract negotiations on May 1.
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The Writers Guild told its members today that the AMPTP’s “divide and conquer” strategy isn’t working, and that if the companies think they can pit one guild against the other, make a deal with the Directors Guild and force the WGA to accept it and end its strike – as was the case with the WGA’s last strike – they are mistaken.
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The WGA also accused the Alliance of Motion Picture and Television Producers of “gas-lighting” union members and telling a “lie” about the breakdown of their contract negotiations on May 1, launching the strike that is now a month old.


During the last writers’ strike back in 2008, the DGA made a deal with the AMPTP on the 73rd day of the strike. The main issue was residuals from what is now known as streaming. A few weeks later, the WGA agreed to similar terms, ending its 100-day walkout. This time around, the DGA began negotiations for its own contract nine-days into the WGA strike, but the WGA says the companies’ “divide and conquer strategy won’t work this time.



“The AMPTP was formed in the 1980s when the industry’s major employers decided they were tired of the decades of gains made by unions when engaging in their own divide and conquer strategy – choosing an employer (or employer group) to get a good deal that the rest of the industry studios had to follow,” the WGA Negotiating Committee said in a communique to members today.

“The AMPTP strategy of corporate unity has been wildly successful for the companies. Labor costs have been contained in an industry where workers have tremendous power while the companies reaped billions on billions in profit, year after year. During the last 35 years, there have been only two strikes – 2007/08 and now. While the employers were united, labor has been less so. Until recently.

“During the last WGA strike, SAG was supportive but relations with some of the other unions were strained. While writers were out on picket lines, the DGA negotiated its own deal far ahead of its contract expiration, which included some (but not all) of the goals writers sought.

“In the intervening contract cycles, union solidarity in Hollywood was limited. The DGA negotiated first, far ahead of their deadline, and the implicit message from the AMPTP was that the WGA or other unions would have to strike to get a better deal than the pattern already set.

“This bargaining cycle, the industry began beating the strike drum far in advance of the WGA’s formulation of bargaining demands, let alone the start of actual negotiations. The AMPTP set a strategy in motion designed to be a repeat of 2007/08. Divide and conquer. Hold off a deal with the DGA until after the WGA contract expiration date so that in the event of a writers’ strike the AMPTP could force a DGA pattern on the WGA. Even better if they could also sew up a deal with SAG-AFTRA. They would then claim that the writers were being unreasonable.

“That strategy, however, depends on divided unions. This year is different. Every union in town came out in support of the WGA, both during negotiations and after the start of the strike. The DGA has been clear that it is facing a tough and critical negotiation to address its members’ needs. Yesterday, we joined a statement along with SAG-AFTRA, IATSE and Teamsters 399 in solidarity with the DGA in their negotiations. SAG-AFTRA is taking a strike authorization vote as they enter negotiations to address the existential issues its members are facing. Teamsters, IATSE, and other entertainment union members have been honoring WGA picket lines across the country.

“Still, the AMPTP remains committed to its strategy. They pretended they couldn’t negotiate with the WGA in May because of negotiations with the DGA. That’s a lie. It’s a choice they made in hope of breathing life into the divide and conquer strategy. The essence of the strategy is to make deals with some unions and tell the rest that’s all there is. It’s gaslighting, and it only works if unions are divided.

“Our position is clear: to resolve the strike, the companies will have to negotiate with the WGA on our full agenda.

“The AMPTP should have made a fair deal with writers by May 1st. But they didn’t, as they are seemingly intent on continuing their efforts to destroy the profession of writing. For the last month, writers have followed in the footsteps of many generations before who went on strike to secure their collective future in this business. We will continue to march until the companies negotiate fairly with us. We do it now with the support of our sister guilds and unions, and we will support them whenever it’s their turn. The era of divide and conquer is over.”
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steadyrighteous

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Cattle Mutilation said:
That's always Netflix's backup plan. They'll gladly just buy cheaper international content.
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If it was that easy they'd be doing it more, with or without the writer's strike.

I read an article some time this past year asking the question why since Squid Game have they not been able to create an international or foreign language hit nearly as big since.

It ain't easy.
 
Cattle Mutilation

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steadyrighteous said:
If it was that easy they'd be doing it more, with or without the writer's strike.

I read an article some time this past year asking the question why since Squid Game have they not been able to create an international or foreign language hit nearly as big since.

It ain't easy.
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There's plenty of stuff out there that's already been created that they can just buy the streaming rights to.
 
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