The union remains at an impasse with Hollywood studios over a host of labor issues, most notably residuals for streaming content, staffing levels in writing rooms and the use of artificial intelligence.
"You know, this is not we wanted to do today but it is where we are," writer Danielle Sanchez-Witzel, known for her work on shows including "My Name is Earl" and "New Girl," told fellow union members outside the Netflix studio. "And together we will stay united and we will win this fight. So let's fight together."
"We're very concerned about what's going on, because both sides are dug in, and the stakes are high," Newsom said. "I've got to say, I'm sensitive to the concerns of the writers, very, in terms of what streaming's doing, what the next conversation, AI , is doing in this space. This is a very real and existential moment."
According to the union, its latest contract proposal would net writers roughly $429 million per year, while the studios' latest offer would equate to about $86 million annually. "The AMPTP also indicated to the WGA that it is prepared to improve that offer, but was unwilling to do so because of the magnitude of other proposals still on the table that the guild continues to insist upon. 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.
"The companies' behavior has created a gig economy inside a union workforce, and their immovable stance in this negotiation has betrayed a commitment to further devaluing the profession of writing.
The WGA last went on strike in 2007-08, remaining off the job for 100 days and grinding Hollywood production to a halt. That strike was precipitated over compensation for what was then termed "new media," with Internet streaming beginning to reshape the entertainment landscape.
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