In many cases, writers have only recently begun to see these increases in their paychecks. In the most recent contract (2020), the WGA negotiated a 46% increase in residuals for streaming programs to take effect starting in 2022. In addition, the companies have offered to create an entirely new category of rates that will establish a new and higher floor for mid-level writers’ compensation. The first-year general wage increase currently on the table is the highest first-year increase offered to the WGA in more than 25 years. And that doesn’t take into account the additional outsized wage increases and residual increases that the companies have offered. Based on information available from the pension and health plans, the companies’ offer on minimum wages is closer to $97 million per year. The WGA claims that the companies’ most recent offer on minimum wage increases adds up to approximately $41 million per year. Some writers are the sole voice of a show and others work with only a small team. We don’t agree with applying a one-size-fits-all solution to shows that are unique and different in their approach to creative staffing. While the WGA has argued that the proposal is necessary to ‘preserve the writers’ room,’ it is in reality a hiring quota that is incompatible with the creative nature of our industry. If writing needs to be done, writers are hired, but these proposals require the employment of writers whether they’re needed for the creative process or not. These proposals require studios to staff a show with a certain number of writers who will be hired for a specified period of time that may not align with the creative process. The WGA’s set of demands includes proposals regarding mandatory staffing and guarantees of employment. Mandatory Staffing and Duration of Employment Here are the AMPTP’s positions on the key issues: The longer this lasts, the more painful it’s going to get for everybody on their side.” “Right now, they don’t agree on everything. “I think there is going to be some interesting talks happening behind closed doors among the companies,” WGA Negotiating Committee member said Eric Heisserer today from the picket line outside Netflix HQ in Hollywood. With today’s missive from the AMPTP, one WGA member who sat on the other side of the table in the now-shuttered negotiations says the studios are no monolith, and there are divisions between them. RELATED: What Went Wrong? Writers & Studios Reveal What They Couldn’t (And Could) Agree On As Strike Is Set The primary sticking points are ‘mandatory staffing,’ and ‘duration of employment’ - guild proposals that would require a company to staff a show with a certain number of writers for a specified period of time, whether needed or not.” This is the AMPTP’s first public pronouncement since talks broke off Monday night, when it said that had “presented a comprehensive package” of proposals to the guild that included “generous increases in compensation for writers as well as improvements in streaming residuals.” It noted at that time that it is “prepared to improve that offer,” but is “unwilling to do so because of the magnitude of other proposals still on the table that the Guild continues to insist upon. RELATED: Video & Photos As Big Names Hitting The Streets And Sounding Off In First Days Of WGA StrikeĪ detailed list of the WGA’s specific goals is here.
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