After representatives for the Writers Guild of America (WGA) convened on Friday with major studios and streamers in the first formal return to the negotiating table since the strike was called on May 2, the WGA negotiating committee says the union will “evaluate their offer and, after deliberation, go back to them with the WGA’s response next week.” The negotiations were led by AMTPTP president Carol Lombardini and WGA West assistant executive director and chief negotiator Ellen Stutzman. The meeting was announced on Thursday after Lombardini reached out to the guild to resume negotiations, with an expectation that studios would provide responses to WGA proposals.
The negotiations between the studios and the guild have been halted due to the deal the Directors Guild of America (DGA) struck earlier this summer. The AMPTP doesn’t want to depart too far from that agreement, according to the WGA. While the studios are open to increasing writer-specific TV minimums and making AI concessions, they are not willing to budge on core concerns relating to the minimum size of writers’ rooms or success-based residuals. The WGA considers these fundamental issues that need to be addressed in the new contract to ensure that no segment of the membership is left behind.
During the meeting on Friday, the AMPTP was reportedly prepared to discuss the three big issues of AI, streaming residuals, and mini-rooms. However, the WGA stated in its briefing to members that the studios were only prepared to offer the DGA deal for pattern issues and a willingness to engage on AI, but not mini-rooms or streaming residuals. There is currently no clear path to the parties striking a deal that would end the work stoppage, which has now officially exceeded the duration of the 2007 walkout.
The union has cautioned its members to temper their expectations, as a deal is not imminent. Negotiations remain cordial but coldly professional, according to Chris Keyser, co-chair of the WGA negotiating committee. In the 2007 writers’ strike, negotiations similarly restarted but ultimately fell apart. At that point, the WGA had announced plans to individually negotiate with studios.
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Furthermore, the work stoppage has strained industry relationships. During the Aug. 4 meeting, Stutzman pushed for arbitration of legal conflicts that began during the strike and the reinstatement of striking writers in their previous roles. More than 100 days into the work stoppage, virtually all unionized, scripted production in the U.S. has been shut down. With SAG-AFTRA members joining the picket line last month, production on major films and television series has been suspended, resulting in billions of dollars in losses for the California economy. The last writers’ strike cost the state $2 billion, according to a study by the Milken Institute.
The WGA negotiating committee remains willing to engage with the companies and resume negotiations in good faith to make a fair deal for all writers. They do not intend to leave anyone behind or settle for an incremental deal to conclude the strike. The guild will evaluate the offer presented by the studios and respond next week after careful deliberation.
Moving forward, it will be crucial for both sides to find common ground and address the core concerns raised by the WGA. A fair resolution that meets the needs of all parties involved will not only end the work stoppage but also ensure a sustainable future for writers in the entertainment industry. The impact of the strike goes beyond the financial losses; it affects the livelihoods of thousands of writers and the overall functioning of the industry. Timely and meaningful negotiations are essential to reaching a mutually beneficial agreement and restoring stability to the industry.
