The labor actions taken by the Writers Guild and the Screen Actors Guild (SAG) in 1960 serve as a clear precedent for the ongoing reboot, but there are stark differences between the two strikes. The common thread between them is the disruptive impact of new communication technologies. In 1960, it was television, while today, it is digital streaming. The emergence of these new revenue sources for producers has made the original terms of service for talent seem inadequate. This has led to a demand for a larger share of the pie, or at least a fairer distribution of the profits.
During the 1960 strike, industry insiders expressed concerns about the state of the film business. Billy Wilkerson, then-owner of The Hollywood Reporter, warned that the industry was on the brink of disaster due to the actions of each branch of the business. However, unlike today’s heated rhetoric, the language used during the 1960 strike maintained a more measured and diplomatic tone. Representatives from both sides of the conflict criticized each other’s positions but refrained from resorting to insults. This allowed for a more congenial atmosphere during negotiations, even if tensions were bound to arise behind closed doors.
In 1960, the strike by SAG was settled in April, and a tentative agreement was reached between SAG and the Association of Motion Picture Producers (AMPP). SAG President Ronald Reagan and Charlton Heston, a member of the SAG negotiating committee, shook hands with Columbia VP B.B. Kahane and AMPP executive Charles S. Boren for the cameras. The negotiating teams appeared amiable and happy, suggesting that their interactions went beyond the meeting room. This level of decorum was also observed during the 1980 strike by SAG.
However, the current strike in 2023 faces a new kind of challenge. The rise of artificial intelligence (AI) in Hollywood has complicated the negotiations. Hollywood itself has warned about the threats of AI since the release of “2001: A Space Odyssey.” The producers’ proposals seem to indicate that AI has already achieved singularity in the industry. SAG-AFTRA President Fran Drescher has warned that machines could replace human talent, but the implications may go even further. AI poses a threat to the very essence of what it means to be human, compromising individuality and creativity.
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The current strike not only focuses on securing a better residual contract but also on protecting fundamental human rights and dignity. While rights to performances and screenplays can be signed away, the right to one’s own self cannot. The talent fears that the producers want to control not only their work but also their physical appearance and voice. This would undermine the core of their identity and self-expression, making it a non-negotiable issue.
The ongoing strike represents a larger battle for labor rights that extends beyond the entertainment industry. It is a fight for autonomy and the preservation of the human spirit. This battle is not just for the talent, but for all individuals who value their rights and self-determination. The labor unions leading this strike are at the forefront of a wider movement that the entire U.S. body politic needs to address and support.
In conclusion, the current reboot is shaped by the labor actions taken by the Writers Guild and SAG in 1960. Both instances were driven by new communication technologies that disrupted the industry and demanded fairer terms for talent. However, the differences between the two strikes are notable, particularly in the rhetoric used and the level of diplomacy observed. The current strike also confronts a new challenge posed by AI, which threatens not only jobs but also individual autonomy and expression. The ongoing strike represents a larger battle for labor rights and the preservation of human dignity.
