SAG-AFTRA Reach Tentative Deal with The AMPTP Ending Historic Strike

The Second part of Hollywood’s biggest work stoppage in over 60 years has finally come to a close.

After 118 days of picketing and on and off negotiations, The Screen Actors Guild-American Federation of Radio and Television Artists(SAG-AFTRA) reached a tentative deal with The Alliance of Motion Picture and Television Producers(AMPTP) on November 8 and wrapping up a crippling walkout that dates back to May 2 when the Writers Guild of America(WGA) staged their own 148 day strike which ended on September 24. The tentative contract, worth up to $1 billion, achieved most if not all of the union’s key demands including streaming residuals, self tape audition regulations, increased minimums that keep up with inflation and AI protections. Approved by 86% of the SAG-AFTRA National Board, it now goes out to 160,000 members with a deadline for ratification on December 5. This article will discuss the half year long labor battle and how months of shuttered productions ultimately led to both union deals, what they achieved and what this could mean for future labor action.

The first simultaneous writers and actors strike dates back to the spring when the WGA began negotiations with the AMPTP over a new three year TV/Theatrical contract. The issues in this negotiation for writers were a stronger residual structure for streaming shows, AI regulations and most specific to writers set a minimum number of writing staff on a given program. After weeks of negotiations failed to secure a deal, the union went on strike with the support of their fellow unions including SAG-AFTRA. As the actors had their negotiations coming up with a June 30th deadline, many were wondering how SAG-AFTRA president Fran Drescher would follow.

After seeking and getting a strike authorization, the guild began negotiating with the AMPTP and asked for many of the same things the writers asked but also specific protections for actors such as the ability to consent to if a studio wants to use actors likeness for AI and compensation for that use. Unfortunately, after weeks of negotiations and even help from a federal mediator, an agreement could not be reached and SAG-AFTRA joined the WGA on the picket lines and any remaining productions that were still up and running immediately suspended production. In addition, members were prohibited from promoting finished projects on red carpets and talk shows. This led the Primetime Emmy Awards, which announced their nominations on the eve of the actors strike, to be pushed back from September to January and fall film festivals almost devoid of stars. However, the union did grant waivers to independent movies that had no connection to the AMPTP that gave them the go ahead to continue filming during a work stoppage as these companies agreed to the deal SAG-AFTRA wanted.

After weeks of silence from the AMPTP and what seemed like no end in sight, a breakthrough was achieved in mid September when four executives of the AMPTP companies including Disney’s Bob Iger, Warner Bros Discovery head David Zaslav, Netflix co CEO Ted Sarandos and Donna Langley of Universal spent days in negotiations which finally led to a new three year contract. In addition to increased minimums, writers won strict limitations on AI in the screenwriting process, a minimum writing staff for a minimum contract length, increased residual payments for writers on highly watched SVOD shows and movies along with visibility on how a project is doing on a platform and improved foreign residuals on all streaming platforms. The deal was ratified by 99% of voting WGA members on October 9, leading to increased optimism that something similar could be accomplished for SAG-AFTRA. However, Drescher and SAG-AFTRA National Executive Director and Chief Negotiator Duncan Crabtree Ireland cautioned that streaming compensation and AI protections needed for actors was going to be different from what the WGA got.

On October 2, SAG-AFTRA and the AMPTP returned to the negotiating table along with the aforementioned four executives that helped make a breakthrough with the WGA. While some progress was made over the last couple of days, talks broke down again over an inability to come to terms on AI and streaming sharing. Sarandos accused the union of demanding a levy on subscribers and even went so far as to saying it was “a bridge too far”. Drescher and Crabtree-Ireland placed blame on management for halting negotiations rather continue in bargaining. A few days later, a zoom call was held between union leaders and high profile actors such as George Clooney, Scarlett Johansson, Tyler Perry, Meryl Streep and a dozen others. The A-Listers proposed defraying up to $150 million that would help bolster the union’s health and pension plan. Drescher rejected this proposal saying it was up to the AMPTP to make a deal. Fearing that the higher paid actor/producers were trying to settle the strike as quickly as possible, 4,000 actors signed a letter including Bryan Cranston, Mark Ruffalo and Demi Moore urging the negotiating committee to keep fighting and not cave to a terrible deal.

Negotiations resumed on October 27 and continued amid a growing sense of optimism. After nearly two weeks of peaks and valleys, a tentative agreement was approved unanimously by the TV/Theatrical negotiating team. Some of the notable things won in the agreement a 7% wage increase in the first year of the contract while background, stand-ins and photo doubles earn a whopping 11% increase year one. Like the WGA and DGA, actors who appear in the most popular streaming series and films will get a bonus payment to go along with the regular residual payment for these programs as well as access to viewership stats to know how a program is doing. Members who work on a series or movie shot outside of their home state will be given a monthly relocation payment of $5,000 for six months. Perhaps more importantly, this contract will force studios to ask actors for consent if they wish to use their likeness for AI replicas and will be entitled to compensation for that use as they would be if they were physically on set. Actress Justine Bateman, a former board member of SAG and an outspoken advocate against AI in this negotiation cycle, blasted the terms feeling that ratifying this contract will end careers. Drescher, however, countered that while the deal didn’t get everything they hopped to achieve, what was accomplished will protect actors as the industry moves forward in these unprecedented times.

Finally, what happens next now that labor peace has been reached? Shows and movies that were shut down by the strikes will most likely be the first to resume production although a number won’t make their initial release date such as Deadpool 3. In addition, there is possibly for more labor action as IATSE, the union that represents crew from Cinematographers, Editors etc. have their negotiations coming up ahead of their contract expiration in July and while one could argue Hollywood is strike weary, leaders have stated that labor action across the country has only energized them to fight for a fair deal and go to the mat if necessary. Having supported the WGA and SAG-AFTRA from the beginning of their strikes, both unions have stated that they will be behind IATSE when their time comes. Lastly, AI is growing with each passing day and by the time the next negotiation cycle begins in 2026, it could be way different than what we think it can do today so this feels like a battle that will be fought over multiple years as like any technology, it can be abused if not regulated properly. However, what SAG-AFTRA and the WGA won in this negotiation is an important stepping stone for what will hopefully be a better Hollywood that rewards talent when success comes.