Writers Guild of America strike. The WGAE and WGAW labor unions represent film, television, and radio writers working in the United States. All 1. 2,0. 00 screenwriters and TV writers in the guild were part of the strike[1] which started on November 5, 2. February 1. 2, 2. The strike sought increased funding for the writers in comparison to the profits of the larger studios. It was targeted at the Alliance of Motion Picture and Television Producers (AMPTP), a trade organization representing the interests of 3.

Many articles and online tracts promoting the KJV and arguing against the use of modern versions. Soon, when computers and your TV are connected, that's how we're all going to watch. Okay? Those residuals are going to go from what they are towards zero if we don't. MRC is a diversified global media company with operations in filmed entertainment, television programming and original digital content. The company is the industry.

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American film and television producers.[4] The most influential of these are eleven corporations: CBS (headed by Les Moonves), MGM (Harry E. Sloan), NBCUniversal (Jeffrey Zucker), The Weinstein Company (Harvey and Bob Weinstein), Lionsgate (Jon Feltheimer), News Corp/Fox (Peter Chernin), Paramount Pictures (Brad Grey), Anchor Bay/Liberty Media/Starz (Chris Mc. Gurk), Sony Pictures (Michael Lynton), the Walt Disney Company (Robert Iger), and Warner Bros. Barry Meyer).[5]Negotiators for the striking writers reached a tentative agreement on February 8, 2. February 1. 0, 2. Striking writers voted on February 1. On February 2. 6, the WGA announced that the contract had been ratified with a 9.

· · http:// As long as trolls are still trolling, the Rick will never stop rolling. Negotiations begun more than 18 months ago have yet to yield a new video game deal, but the union's low, 25 percent market share may limit its leverage.

WGA members.[8] The Writers Guild later requested a court order seeking that the agreement be honored and implemented. The guilds were on strike for 1. In contrast, the previous strike in 1.

Guild, lasted 2. 1 weeks and 6 days (1. American entertainment industry an estimated $5.

According to a National Public Radio (NPR) report filed on February 1. Los Angeles an estimated $1. A report from the UCLA Anderson School of Management put the loss at $3.

Jack Kyser put the loss at $2. The resolution of the strike was unclear: while they lost out on short- term deals, they received a new percentage payment on the distributor’s gross for digital distribution based on the deal that the DGA made during the strike.[1. Issues in the strike[edit]We are ready to meet at any time and remain committed to reaching a fair and reasonable deal that keeps the industry working, but the DVD issue is a roadblock to these negotiations. AMPTP president Nick Counter[1. Every issue that matters to writers, including Internet reuse, original writing for new media, DVDs, and jurisdiction, has been ignored.

This is completely unacceptable. WGA Negotiating Committee[1. Every three years, the Writers Guild negotiates a new basic contract with the AMPTP by which its members are employed. This contract is called the Minimum Basic Agreement (MBA).[1. In 2. 00. 7, negotiations over the MBA reached an impasse and the WGA membership voted to give its board authorization to call a strike, which it did on Friday, November 2, 2. Monday, November 5, 2.

Among the many proposals from both sides regarding the new contract, there were several key issues of contention including DVD residuals, union jurisdiction over animation and reality program writers, and compensation for "new media" (content written for or distributed through emerging digital technology such as the Internet).[1. DVD residuals[edit]Background[edit]In 1. Writers Guild went on strike over the home video market, which was then small and primarily consisted of distribution via video tape. At that time, the entertainment companies argued home video was an "unproven" market, with an expensive delivery channel (manufacturing VHS and Betamax tapes, and to a much smaller extent, Laser. Disc). Movies were selling in the range of between $4. Guild accepted a formula in which a writer would receive a small percentage (0.

As manufacturing costs for video tapes dropped dramatically and the home video market exploded, writers came to feel they had been shortchanged by this deal.[1. DVDs debuted in 1. VHS format, outselling VHS for the first time on the week of June 1.

The previous VHS residual formula continued to apply to DVDs. Prior to the strike, the home video market had become the major source of revenue for the movie studios. In April 2. 00. 4, the New York Times reported the companies made $4. January and March.[2.

Proposals[edit]WGA members argued that a writer's residuals are a necessary part of a writer's income that is typically relied upon during periods of unemployment common in the writing industry. The WGA requested a doubling of the residual rate for DVD sales, which would result in a residual of 0. DVD sold.[2. 1]The AMPTP maintained that studios' DVD income was necessary to offset rising production and marketing costs.[1.

They further insisted that the current DVD formula (0. Writers Guild. The WGA provisionally removed the increased DVD residual request from the table, in an effort to avert a strike and on the understanding of certain concessions by the AMPTP, the night before the strike began. However, after the strike began, WGAW President Patric M.

Verrone wrote that the membership exhibited "significant disappointment and even anger" when they learned of the proposed removal of the request; and Verrone also wrote that, since the removal of the increased DVD residual request was contingent on concessions by the AMPTP which did not happen, the writers would and should continue to "fight to get our fair share of the residuals of the future."[2. Conclusion[edit]There was no change to the calculation of DVD residuals.[2. New media[edit]Driven by the then- recent contract between Viacom and the creators of South Park,[2.

Internet downloads, IPTV, streaming, smart phone programming, straight- to- Internet content, and other "on- demand" online distribution methods, along with video on demand on cable and satellite television.[2. Background[edit]Prior to the strike, the WGA had no arrangement with the companies regarding the use of content online, and two models of Internet distribution are currently being negotiated. The first is "electronic sell- through" (also known as "Internet sales" or "digital sell- through").

In electronic sell- through, the consumer purchases a copy of the program and downloads it to a local storage device for subsequent viewing at their convenience. Examples include movies and television shows purchased through the i. Tunes Store and Amazon Video on Demand.

In the second model, "streaming video", the consumer watches a program in real time as it is transmitted to their computer but is usually not saved. Current examples of this model include advertising- supported television programs streamed free to the audience, such as those available at nbc. In either case, the program may be viewed directly on a computer or on a traditional television via media distribution devices (e.

Ti. Vo). The convenience of both these technologies lowers the barriers to entry into the digital distribution marketplace making it more accessible to mainstream consumers. It was widely expected by industry observers that new media would eventually supplant both DVD in the home video market and television in the broadcasting market as the primary means for distribution.[2. As in the mid- 1. However, feeling resentment from the 2. WGA members remained adamant that whatever deal they made for new media, it could not resemble the DVD formula. New media was widely seen by most WGA writers as the central issue for the strike.

Writer- director Craig Mazin (Scary Movie 3) has dubbed new media "the One Issue" that matters.[3. This sentiment was further articulated by a self- described "skeptic", writer Howard Gould, at a meeting of the full WGA membership the night before the strike date was announced. He said, to a standing ovation: “Soon, when computers and your TV are connected, that's how we're all going to watch. Okay? Those residuals are going to go from what they are towards zero if we don't make a stand now. This is such a big issue that if they see us roll over on this without making a stand - three years from now, they're gonna be back for something else.

Video Game Companies Respond as SAG- AFTRA Sets Strike Date. SAG- AFTRA's board of directors voted unanimously Sunday to set a strike date against video game employers for Friday, Oct. Depending on the outcome of interactive negotiations Monday through Wednesday this week, SAG- AFTRA said it will strike the following video game employers: Activision Publishing Inc.; Blindlight LLC; Corps of Discovery Films; Disney Character Voices Inc.; Electronic Arts Productions Inc.; Formosa Interactive LLC; Insomniac Games Inc.; Interactive Associates Inc.; Take 2 Interactive Software; Voice. Works Productions Inc.; and WB Games Inc. Unless a deal is reached during bargaining sessions scheduled for the first part of this week, all games that went into production after Feb. Watch Amira &Amp; Sam Dailymotion. The board's strike vote comes a year after members authorized the action in what was a to- date unsuccessful ratcheting up of pressure on the industry."Through many months of bargaining with interactive employers, we have not reached a fair agreement covering SAG- AFTRA performers working in video games — often the most popular games in the world," SAG- AFTRA president Gabrielle Carteris said. Our members have been clear, now is the time for employers to negotiate a modern contract that covers this highly profitable industry."Several hours later, the companies fired back."We have negotiated in good faith for the past 1.

SAG- AFTRA union leaders, and are making progress toward a new contract," said the companies' spokesman. We are deeply disappointed to learn today of the Union's threatened strike and its unilateral violation of the mutually agreed upon 'news black- out' on negotiation discussions. We consider the Union's threatened labor action to call a strike precipitous, unnecessary and an action that will only harm their membership. SAG- AFTRA represents performers in less than 2. Any strike would not only deny SAG- AFTRA's membership work, but this would also give their competitors, who do not engage union talent, a leg up while any strike would be in place."In addition, said the companies, "[Our] upcoming games are already in production and the majority will be unaffected by any SAG- AFTRA strike due to the nature of the 'no strike provisions' of the collective bargaining agreement. We anticipate minimal impact on current and near- future game releases."But the union views things quite differently."We have received a clear and unambiguous message from the community who work this agreement that the situation they face has become intolerable," said SAG- AFTRA national executive director David White. We are always prepared to reach a fair deal with employers, but they must play their part.

It is a serious decision to conclude that a job action of this magnitude is necessary, and we hope that we can reach a fair deal before the deadline set by the board. But make no mistake: If we are unable to find a way to address the minimum needs of our members, we will go on strike as planned."A union information sheet identified the key issues as: Secondary Compensation. Video game performers don't receive residuals. The union says it's asking for a bonus for each principal performer equal to the session fee for every 2 million copies or downloads sold, or 2 million unique subscribers to online- only games, with a cap at 8 million units or subscribers. Stunt Safety. The union says that video game employers often do not hire the required stunt coordinator on set, putting performance capture and stunt performers at safety risks. Transparency. SAG- AFTRA has proposed that the actual project title and role should be made available before signing a contract, information that the union says is often withheld and which would allow the performer to make a meaningful decision about whether to accept a role and to negotiate appropriate compensation.

Vocal Safety. According to the union, an increasing number of SAG- AFTRA voiceover artists report medical disorders – including fainting in sessions, tasting blood, vomiting, losing their voice for a day up to several weeks, permanently losing their vocal range and other vocal disorders – resulting from their video game work due to the intensity of the vocal demands, such as simulating painful deaths, creature voices, battle sounds, and screams and shrieks, with significant force and explosive vibration. The union, which previously complained to California authorities, has proposed that vocally stressful sessions be reduced from the current four- hour session to a two- hour session without a loss of pay.(The employer countered, "Although the Companies have had only one report of workplace injury due to vocal stress, the Companies have continued to look to ways to reduce the burdens on performers in this area through the more flexible work scheduling and other innovative work arrangements.")Failure to Bargain Seriously. The union says that the video game companies have said no to most of SAG- AFTRA's proposals and haven't taken these negotiations seriously. Out- of- Date Contract. SAG- AFTRA Interactive Contract was originally written in 1. We need a contract that fits the needs of our members working in video games," said SAG- AFTRA chief contracts officer Ray Rodriguez.

So far employers have been unwilling to meet us even close to where the needs of our members are."The employers responded, "The existing contract … pays all performers more than $1. The Companies' current proposals on the negotiation table includes wage increases for most performers and additional avenues for compensation that could yield many hundreds of dollars more in payments for limited integration and ratification bonuses. SAG- AFTRA's website is inaccurate and out of date and does not reflect offers, some of which have been on the table for more than a year."In other news, the union board took a variety of other actions, including extending White's contract to 2. White on a pilot program for direct deposit of residuals. Rodriguez also announced that the union's TV/Theatrical Wages and Working Conditions (W& W) process — in which SAG- AFTRA leadership gather member input for upcoming contract negotiations — will commence Oct. Nov. 1. 7, 2. 01.

All three above- the- line unions' contracts expire the middle of next year, and the SAG- AFTRA timing suggests that the DGA is likely to begin formal negotiations shortly, as that union frequently negotiates first and generally prefers to do so six months or more prior to contract expiration. Watch Coraline Dailymotion.