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Tag: Alliance of Motion Picture and Television Producers

  • SAG-AFTRA Members Give Near-Unanimous Approval to New TV Animation Contract

    SAG-AFTRA Members Give Near-Unanimous Approval to New TV Animation Contract

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    2023 was a labor-heavy year for the entertainment industry thanks to the Hollywood strikes. While actors, writers, and directors now have new deals, other parts of the industry are still working to ensure better conditions and AI safeguards.

    Late Friday night, it was revealed SAG-AFTRA members have fully ratified a new three-year contract for TV animation. It appears to have been a pretty high voter turnout, with 95.52% of those who voted in favor of the conditions. According to SAG, parts of this contract were boosted by the TV/Theatrical contract struck last year, such as AI protections. It’ll go into effect starting July 1 and run through June 30, 2026.

    Key AI points include performers having to give their consent when prompting a genAI system with a specific voice actor’s name. Producers will also have to notify and negotiate with SAG-AFTRA if a synthetic voice is used instead of a voice actor’s, and the previous contract’s “major facial feature” requirement has now been removed. If a performer’s voice has been digitally altered into a foreign language and that performance is used, the actor will be eligible for “all applicable residuals.”

    Outside of AI, minimum wage will increase by 7% (retroactively applied to July 1, 2023), followed by 4% in year two and 3.5% in year three. Changes to SVOD high-budget residuals (both domestic and foreign) have been fully implemented after they were previously secured in SAG-AFTRA’s TV/theatrical agreement last year, and both Martin Luther King Jr. Day and Juneteenth have been recognized as contractual holidays. Finally, the union can request up to two meetings per year with the AMPTP and studios to discuss paying performers on time.

    “The foundation of this agreement was based on the feedback we got from members who work these contracts, and that remained the negotiating committee’s focus throughout bargaining. We are proud to have delivered an agreement that offers big wins in those areas,” said TV Animation negotiating co-chairs Bob Bergen and David Jolliffe. “This is the first SAG-AFTRA animation voiceover contract with protections against the misuse of artificial intelligence.”

    Added chief negotiator Duncan Crabtree-Ireland, “This contract represents a meaningful step forward in expanding our A.I. protections. The contract provides important new terms in the areas of foreign residuals, high-budget SVOD productions, late payments and much more. I am gratified we were able to achieve these significant gains without the need for a work stoppage.”

    The labor negotiations in entertainment aren’t done yet. SAG-AFTRA is still in talks with video game studios over an agreement for video game voice actors, and organzations like local IATSE groups and the Animation Guild are expected (or currently are) having talks with the AMPTP and studios in the near future.

    You can read the full four-page breakdown of SAG-AFTRA’s new contract here.

    [via The Hollywood Reporter]


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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  • Fran Drescher ‘looking forward’ to talks resuming between actors’ union and  Hollywood studios next week | CNN

    Fran Drescher ‘looking forward’ to talks resuming between actors’ union and Hollywood studios next week | CNN

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    CNN
     — 

    SAG-AFTRA President Fran Drescher is gearing up to resume negotiations with the Alliance of Motion Picture and Television Producers next week.

    Talks will resume between the actors’ union and studio representatives on Monday, two and a half months after the more than 160,000 members of the guild went on strike and one week after the Writers Guild of America and the AMPTP reached a tentative contract agreement.

    “We’re happy WGA came to an agreement but one size doesn’t fit all,” Drescher told CNN on Thursday. “We look forward to resuming talks with the AMPTP.”

    SAG-AFTRA negotiators will meet with several executives from AMPTP member companies to work out new television and theatrical contracts, according to the union.

    SAG-AFTRA and the WGA have both sought contract changes related to streaming residuals and artificial intelligence. Actors are also asking for better relocation expenses for actors working out of state or country and limited long breaks between television seasons in order to give actors more stability while under contract.

    The WGA has voted to authorize its members to return to work following the tentative agreement reached this week.

    SAG-AFTRA has been on strike since July 14.

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  • Why the Hollywood strike is already ‘a big deal’ for Canada’s film industry – National | Globalnews.ca

    Why the Hollywood strike is already ‘a big deal’ for Canada’s film industry – National | Globalnews.ca

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    The strain of Hollywood’s actors’ and writers’ strikes is being felt in productions all around the world, and film industry insiders say Canada is far from exempt.

    Due to long-established industry ties to American unions and networks, most film and television productions in Canada have come to a screeching halt. Alistair Hepburn, executive director of ACTRA Toronto, says productions began slowing down in spring when rumours of the Writers Guild of America (WGA) strike began.

    “Some shows that were scheduled to come (to Canada) never even started. With this now, adding our siblings at SAG-AFTRA to the picket lines, we will absolutely see an impact,” Hepburn said to Global News in an interview, referring to the Screen Actors Guild-American Federation of Television and Radio Artists.

    “There won’t be new shows recorded over the summer in time for a fall premiere.”

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    Summer is typically the film industry’s most lucrative season across the board, he said, but this year will be “relatively slow.”

    A lot of Canadian productions work with American studios and SAG-AFTRA actors, but just under half of the work done in provinces like Ontario is domestic, which includes shows like Murdoch Mysteries and Run the Burbs.

    “It’s all of those shows that are filmed here using Canadian talent, Canadian writers, Canadian directors, Canadian crews to do the work. Those shows continue,” Hepburn explained.


    Click to play video: 'Impact of Hollywood strike on Canada’s film industry'


    Impact of Hollywood strike on Canada’s film industry


    SAG-AFTRA is also working on an agreement where independent Canadian producers – not affiliated with the Alliance of Motion Picture and Television Producers (AMPTP) – will be able to engage the services of a SAG member through a waiver system for the duration of the strike.

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    Independent Canadian producers will have access to actors who are dual card holders as well, meaning they have both a SAG-AFTRA and ACTRA membership.

    “We’ve been in constant contact with our colleagues at SAG-AFTRA and they are assuring us that they’re not looking to do harm to our industry,” Hepburn said.

    Hepburn says he doesn’t know how long the strikes will go on and doesn’t see a resolution coming soon.

    “This is going to have an impact for months, absolutely months on not just performance, but the entire industry as a whole.”

    Hepburn emphasized that it’s not just performers that will be affected by the production drought. Directors, technicians, caterers and Mom-and-Pop hardware stores will feel the strain too.

    “In Ontario, it’s 35,000 full-time equivalent jobs in the film industry. The trickle-down effect is real,” Hepburn said.

    Shane Boucher, who is the founder of an Ottawa-based studio called 1Development Entertainment Services, says this is the first July in the industry where he hasn’t worked.

    “It’s really an industry-wide shutdown. It’s a big deal,” Boucher said in an interview with Global News.

    1Development is a service company, meaning they service other parent companies or networks. Almost all of the TV movies the company works with are American.

    Story continues below advertisement


    Click to play video: 'Implications of Hollywood strikes on Canadian Film Industry'


    Implications of Hollywood strikes on Canadian Film Industry


    Boucher says business started as usual at the start of the year with approximately 16 productions lined up. When rumours of the WGA strike started, Boucher found himself scrambling to finish as many films as possible by June. Now, he doesn’t have any projects in production.

    Many productions gained buzz when it was announced they were set to film in Canada this summer, including the first season of Cruel Intentions, filmed in Toronto.

    Stefan Steen, a producer on the show by Amazon, says production has stopped until the strike ends.

    “It’s completely devastating to the local film industry. Everyone currently filming U.S. productions has had to stop and all local crews are immediately out of work. Most get one week’s additional pay but that’s it,” Steen said in an email to Global News.

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    Click to play video: '‘We are the victims here’: SAG-AFTRA president says as Hollywood actors go on strike'


    ‘We are the victims here’: SAG-AFTRA president says as Hollywood actors go on strike


    Creative B.C., a program in British Columbia that supports the provinces’ creative sector, said in a statement on their website that they are “watching the situation closely” and “respect the process and all parties.”

    “In our role as the economic development organization for motion picture in B.C., together with our local industry partners, we are concerned for the workforce, companies, industry, and people,” the group said.

    “The industry is evolving rapidly, business models have changed, and addressing these changes is part of a necessary industry business cycle.”

    Hepburn says anyone who wants to support the strike can vote with their wallets.

    “It’s time to cancel your streaming account. That’s ultimately what is going to force the hand here. It’s going to be about financial hardships on the AMPTP companies,” he said.

    Story continues below advertisement

    “There needs to be action taken by the public.”

    Hepburn also says he hopes other countries will show solidarity in what performers are fighting for.

    “SAG’s fight is everybody’s fight,” he said. “It’s a righteous fight on behalf of performers worldwide.”

    &copy 2023 Global News, a division of Corus Entertainment Inc.

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    Naomi Barghiel

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  • Who is Fran Drescher? What to know about the SAG-AFTRA president and sitcom star

    Who is Fran Drescher? What to know about the SAG-AFTRA president and sitcom star

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    When the leaders of Hollywood’s actors union announced a strike last week, the most fiery words spoken came from SAG-AFTRA President Fran Drescher, who drew thunderous applause when she berated movie studios executives for what she called unreasonable and insulting demands.

    She decried the studios for “plead[ing] poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs.

    “It is disgusting. Shame on them. They stand on the wrong side of history at this very moment, ” Drescher, 65, said.

    Drescher’s cutting words were backed by decades of Hollywood experience. She got her start in movies in the 1970s and has worked as an actor, writer and producer on dozens of projects. Here’s what to know about the actor and labor leader.

    Fran Drescher in red dress
    Fran Drescher at the Iberostar Selection Llaut Palma Hotel on August 4, 2022, in Palma de Mallorca, Spain.

    Franziska Krug/Getty Images for Marcel Remus


    Where is Fran Drescher from?

    Drescher was born in Queens, New York, in 1957, the second child of Morty and Sylvia Drescher, working-class Jewish parents who traced their lineage to Eastern Europe.

    As young girl, Drescher dreamed of being an actor, as well as a politician, a writer and a hairdresser, she told Vanity Fair in an interview shortly after winning the SAG-AFTRA presidency.

    Drescher attended Queens’ Hillcrest High School, where one of her classmates was comedian and actor Ray Romano (best known for the sitcom, “Everybody Loves Raymond.”) She graduated in 1975, having already met the man who would later become her husband, future actor, writer and producer Peter Marc Jacobson.

    The couple married in 1978 and went on to collaborate on many creative projects. They divorced in 1999.

    Fran Drescher played “Fran Fine” in the CBS television sitcom, The Nanny, which aired from 1993 to 1999.

    Fran Drescher on the set of The Nanny.


    In what movies and shows has Drescher appeared?

    In the 1980s, Drescher had small roles in films including “Saturday Night Fever” and the mockumentary “This is Spinal Tap,” in which she played a publicist for a heavy metal band. But her best-known role was playing the vivacious title character in the 1990s sitcom “The Nanny,” which she co-created with Jacobson.

    In The Nanny, Drescher played Fran Fine, a working-class girl “with a face out of Vogue and a voice out of Queens” who stumbles into a job as a live-in nanny to a wealthy English widower’s three kids. The show debuted on CBS in 1993 and ran for six seasons, earning Drescher two Emmy and two Golden Globe nominations. 

    The show pitted Fran’s free-wheeling, spirited style against the uptight manners of her employers, with a dose of sentimentality thrown in. In one memorable episode and case of art imitating life, Fran refused to cross a picket line at a fancy dinner she was attending with her employer.

    “My mother had three rules,” she said in the show. “Never make contact with a public toilet; never, ever, ever cross a picket line, what was the third one? Oh yeah—never wear musk oil to the zoo.”


    Fran Makes A Scene! | The Nanny by
    The Nanny on
    YouTube

    The show “balanced edginess with heart,” the New York Times wrote in a 1994 review that also mentioned Drescher’s “hard work and the thickest Queens accent imaginable.”

    Post-Nanny career

    After Drescher and Jacobson divorced, they developed the TV Land series “Happily Divorced,” based on their marriage and friendship. 

    Drescher has also appeared on the series “Living with Fran” and supplied the voice of Eunice in the “Hotel Transylvania” animated films.

    She is the author of two memoirs, “Enter Whining” and “Cancer Schmancer,” an account of her diagnosis and recovery from uterine cancer; she also founded a nonprofit focusing on cancer early detection and prevention.

    Drescher served as a State Department public diplomacy envoy for health, a role in which she traveled the world to advocate for women’s health issues. She helped convince Congress in 2007 to pass the Gynecologic Cancer Education and Awareness Act.

    Actors on strike
    National Executive Director and Chief Negotiator Duncan Crabtree-Ireland and SAG-AFTRA President Fran Drescher join members of the Writers Guild of America and the Screen Actors Guild on a picket line outside of Netflix in Los Angeles, California, on July 14, 2023. 

    VALERIE MACON/AFP via Getty Images


    New career as an activist

    Drescher became increasingly vocal online around 2017, decrying big business, oil drilling, pharmaceutical companies and the “ruling class” on Twitter. She described herself as “anti-capitalist” in a 2017 interview with Vulture, saying, “Once you really realize the global systemic problem is actually big-business greed, then you know really what you need to do.”

    That activism culminated with Drescher’s winning what the BBC described as a “vicious election” against actor Matthew Modine in 2021 to become SAG’s president. 


    Watch: Fran Drescher delivers fiery speech on SAG-AFTRA strike

    06:22

    Drescher campaigned on ending what she called “dysfunctional division” within the union, telling Deadline during her campaign that “I see reunification as one great and powerful SAG-AFTRA body as the only way to frontline for empowering and protecting members.” 

    Since taking the helm at SAG-AFTRA she has worked to smooth over those rifts, the BBC reported, and has won over some formerly skeptical voices, including noted screenwriter David Simon. 

    “Just watched Fran Drescher chew the #AMPTP’s face off,” he wrote on Twitter. “After her credulous remarks in the run-up to today, I’ll confess I thought she was a lost ball in tall grass. But now, if I hadn’t cut the streaming service, I’d download all seasons of The Nanny.”

    She has been a leading voice in support of the Writers Guild of America, whose 11,000 members went on strike in May, and has shown up on multiple picket lines. On Thursday, Drescher drew parallels between the actors’ concerns and changing conditions in other industries.

    “What’s happening to us is happening across all fields of labor by means of when employers make Wall Street and greed their priority, and they forget about the essential contributors that make the machine run,” Drescher said.

    She directed her closing words directly at studio bosses. “Share the wealth, because you cannot exist without us,” she said.

    Some CBS News staff are SAG-AFTRA members. But they work under a different contract than the actors and are not affected by the strike.

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  • Why celebrities are on strike: Not every actor makes Tom Cruise money | CNN Business

    Why celebrities are on strike: Not every actor makes Tom Cruise money | CNN Business

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    CNN
     — 

    On Friday, the SAG-AFTRA, a union representing about 160,000 Hollywood actors, officially went on strike after failing to reach a deal with Hollywood’s biggest studios.

    That means Hollywood actors and writers are on strike simultaneously for the first time in more than 60 years, bringing most film and television productions to a halt.

    Among other demands, actors on strike are calling for increased pay and a rethinking of residuals, which union members say has significantly diminished amid the rise of streaming services. Residuals are financial compensation paid out to actors whenever TV shows or movies they’ve appeared in are replayed.

    Here are some significant numbers:

    The union’s 160,000 members join the 11,000 Writers Guild of America members who have been striking since May.

    While many of the world’s highest-paid celebrities, including Meryl Streep and Matt Damon, have voiced their support for the strike, the concerns about higher pay and residuals affect thousands of actors who perform in hundreds of films and TV shows.

    SAG-AFTRA’s president, Fran Drescher, pushed back on the notion that all actors are wealthy, saying that a vast majority “are just working people just trying to make a living just trying to pay their rent, just trying to put food on the table and get their kids off to school.”

    “Everything that you watch, that you enjoy, that you’re entertained by are scenes filled with people that are not making the big money,” she added.

    That’s how much the US Bureau of Labor Statistics reported as the average pay for California actors in 2022. However, the BLS noted in the data that actors aren’t paid full-time year-round due to the nature of the job.

    Before the contract between actors and movie studios officially expired this week, SAG-AFTRA members had negotiated specific minimum rates for performers. For example, an actor who worked on a television show for one week was paid a minimum of $3,756.

    However, Kellee Stewart, an actress who has performed for more than 20 years and has appeared on the television series “All American” and “Black-ish,” noted that performers traditionally don’t get to take home the number that appears as their rate.

    “You don’t get to keep it all when you get a paycheck,” she said.

    “You have to pay taxes, plus commissions. For me, that would include an agent, a manager, and a lawyer that negotiates your deals. Right away, when you’re giving a quote for what you’re going to get paid, you already know that’s really going to be 35% less, give or take,” she added.

    Dwayne “The Rock” Johnson was the highest paid actor of 2022, raking in $270 million, according to Forbes’ list of highest paid entertainers. Johnson received hefty paydays from his roles in “Jungle Cruise” and “Red Notice,” but, according to Forbes, the majority of his earned income in 2022 came from his tequila brand, Teremana.

    Tom Cruise made headlines last year for reportedly making $100 million from his deal to star in “Top Gun: Maverick,” for which he received a cut of ticket sales, according to Variety.

    On CBS’ Face the Nation Sunday, IAC Chairman Barry Diller called on both top-paid actors and movie executives to take 25% pay cuts.

    “You have the actors union saying, ‘How dare these 10 people who run these companies earn all this money and won’t pay us?’ While, if you look at it on the other side, the top 10 actors get paid more than the top 10 executives,” Diller said. “I’m not saying either is right. Actually, everybody’s probably overpaid at the top end.”

    The minimum amount of money a performer must take home in one year to qualify for health insurance is $26,470.

    However, while well-known actors are paid millions of dollars to star in movies and TV shows, many members of SAG-AFTRA don’t bring in enough income each year to meet the union’s minimum requirement.

    According to Shaan Sharma, an actor and SAG-AFTRA board member, just 12.7% of SAG-AFTRA members qualify for the union’s health plan.

    Actor Rod McLachlan, who has appeared in television shows such as “Blue Bloods,” said it’s “a constant struggle” to meet the health insurance threshold.

    “If you think about it, $26,000 isn’t a middle-class wage,” he said.

    “The thing about the life of an actor is that you have good years and bad years,” he added.

    Due to the unpredictable nature of TV acting and the competitive nature of landing roles, actors traditionally rely on residual payments, paid out when films or movies are replayed, as a form of steady income when work is hard to come by.

    “If you were in a popular episode of a popular show, the income streams could last for quite some time. You have almost 18 months on one level or another where you are receiving income that was significant enough to help you until the next time you did a network show,” McLachlan said.

    Actors say that the calculation around residuals has changed. As more shows and movies have moved to streaming services, where it isn’t always clear how often content is replayed, actors say they’re making significantly less money.

    Striking writers and actors take part in a rally outside Paramount studios in Los Angeles on Friday, July 14, 2023. This marks the first day actors formally joined the picket lines, more than two months after screenwriters began striking in their bid to get better pay and working conditions.

    “The residuals that I get when it’s on network television versus what I would get on Netflix are night and day,” Stewart said.

    On Twitter, Stewart shared a screengrab of 5 residual payments totaling 13 cents from replays on streaming services.

    “There’s not just a difference between traditional residual television and streaming; they’re not even in the same conversation,” she told CNN.

    On Thursday, Disney CEO Bob Iger said striking actors’ and writers’ demands are “just not realistic.”

    “They are adding to a set of challenges that this business is already facing, that is quite frankly, very disruptive,” he told CNBC.

    When Iger rejoined Disney as CEO in November 2022, he agreed to an annual base salary of $1 million with a potential annual bonus of $2 million dollars. The agreement also includes stock awards from Disney totaling $25 million.

    On Wednesday, Iger agreed to remain in his post as CEO of Disney through 2026 while the company’s board searches for a successor. In his new agreement, Iger is now eligible for a bonus of up to $5 million, according to a company filing, meaning his total pay may reach $31 million per year.

    Walt Disney Studios is part of The Alliance of Motion Picture and Television Producers (AMPTP), the trade group that negotiates with currently striking writers and actors. Other major movie studios, such as Paramount Pictures and Sony Pictures, along with streaming services like Netflix and Apple TV+ are members, as well. Warner Bros. Discovery, CNN’s parent company, is also a member.

    Netflix’s co-CEOs Ted Sarandos and Greg Peters made $50 million and $28 million respectively in 2022, according to a company filing.

    In a statement to CNN, the AMPTP said they were “deeply disappointed” with the union’s decision to strike.

    “Rather than continuing to negotiate, SAG-AFTRA has put us on a course that will deepen the financial hardship for thousands who depend on the industry for their livelihoods,” the AMPTP said.

    SAG-AFTRA did not respond to CNN’s request for comment.

    The potential economic impact of the combined writers’ and actors’ strike could cause $4 billion or more in damage, Kevin Klowden, the chief global strategist for the economic think tank, the Milken Institute, told CNN.

    Klowden said the double strike, which has brought Hollywood projects to a grinding halt, may affect more than just the US economy.

    “London and the UK, Australia, New Zealand, and other places, which either have studios or even do post-production, will face a real impact,” he said.

    – CNN’s Natasha Chen contributed reporting to this story

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  • Who is Fran Drescher? What to know about the SAG-AFTRA president and sitcom star

    Who is Fran Drescher? What to know about the SAG-AFTRA president and sitcom star

    [ad_1]

    When the leaders of Hollywood’s actors union announced a strike this week, the most fiery words spoken came from SAG-AFTRA President Fran Drescher, who drew thunderous applause when she berated movie studios executives for what she called unreasonable and insulting demands.

    She decried the studios for “plead[ing] poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs.

    “It is disgusting. Shame on them. They stand on the wrong side of history at this very moment, ” Drescher, 65, said.

    Drescher’s cutting words were backed by decades of Hollywood experience. She got her start in movies in the 1970s and has worked as an actor, writer and producer on dozens of series. Here’s what to know about the 65-year old actor and labor leader.

    Fran Drescher in red dress
    Fran Drescher at the Iberostar Selection Llaut Palma Hotel on August 4, 2022, in Palma de Mallorca, Spain.

    Franziska Krug/Getty Images for Marcel Remus


    Where is Fran Drescher from?

    Drescher was born in Queens, New York, in 1957, the second child of Morty and Sylvia Drescher, working-class Jewish parents who traced their lineage to Eastern Europe.

    Drescher attended Queens’ Hillcrest High School, where one of her classmates was comedian and actor Ray Romano (best known for the sitcom, “Everybody Loves Raymond.”) She graduated in 1975, having already met the man who would later become her husband,  future actor, writer and producer Peter Marc Jacobson.

    The couple married in 1978 and went on to collaborate on many creative projects. They divorced in 1999.

    Fran Drescher played “Fran Fine” in The Nanny, which aired on CBS from 1993 to 1999.

    CBS via Getty Images


    In what movies and shows has Drescher appeared?

    In the 1980s, Drescher had small roles in films including “Saturday Night Fever” and the mockumentary “This is Spinal Tap,” in which she played a publicist for a heavy metal band. But her best-known role was playing the vivacious title character in the 1990s sitcom “The Nanny,” which she co-created with Jacobson.

    In The Nanny, Drescher played Fran Fine, a working-class girl “with a face out of Vogue and a voice out of Queens” who stumbles into a job as a live-in nanny to a wealthy English widower’s three kids. The show debuted on CBS in 1993 and ran for six seasons, earning Drescher two Emmy and two Golden Globe nominations. 

    The show pitted Fran’s free-wheeling, spirited style against the uptight manners of her employers, with a dose of sentimentality thrown in. In one memorable episode and case of art imitating life, Fran refused to cross a picket line at a fancy dinner she was attending with her employer.


    Fran Makes A Scene! | The Nanny by
    The Nanny on
    YouTube

    The show “balanced edginess with heart,” the New York Times wrote in a 1994 review that also mentioned Drescher’s “hard work and the thickest Queens accent imaginable.”

    Post-Nanny career

    After Drescher and Jacobson divorced, they developed the TV Land series “Happily Divorced,” based on their marriage and friendship. 

    Drescher has also appeared on the series “Living with Fran” and supplied the voice of Eunice in the “Hotel Transylvania” animated films.

    She is the author of two memoirs, “Enter Whining” and “Cancer Schmancer,” an account of her diagnosis and recovery from uterine cancer.

    Actors on strike
    National Executive Director and Chief Negotiator Duncan Crabtree-Ireland and SAG-AFTRA President Fran Drescher join members of the Writers Guild of America and the Screen Actors Guild on a picket line outside of Netflix in Los Angeles, California, on July 14, 2023. 

    VALERIE MACON/AFP via Getty Images


    New career as an activist

    Drescher became increasingly vocal online around 2017, decrying big business, oil drilling, pharmaceutical companies and the “ruling class” on Twitter. She described herself as “anti-capitalist” in a 2017 interview with Vulture, saying, “Once you really realize the global systemic problem is actually big-business greed, then you know really what you need to do.”

    That activism culminated with Drescher’s winning what the BBC described as a “vicious election” against actor Matthew Modine in 2021 to become SAG’s president. 

    Drescher campaigned on ending what she called “dysfunctional division” within the union, and since taking the helm at SAG-AFTRA she has worked to smooth over those rifts, the BBC reported. 

    She has been a leading voice in support of the Writers Guild of America, whose 11,000 members went on strike in May, and has shown up on multiple picket lines. On Thursday, Drescher drew parallels between the actors’ concerns and changing conditions in other industries.


    Watch: Fran Drescher delivers fiery speech on SAG-AFTRA strike

    06:22

    “What’s happening to us is happening across all fields of labor by means of when employers make Wall Street and greed their priority, and they forget about the essential contributors that make the machine run,” Drescher said.

    She directed her closing words directly at studio bosses. “Share the wealth, because you cannot exist without us,” she said.

    Some CBS News staff are SAG-AFTRA members. But they work under a different contract than the actors and are not affected by the strike.

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  • Here’s what to know about the film and TV writers’ strike

    Here’s what to know about the film and TV writers’ strike

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    TV and movie writers went on strike Tuesday for the first time in 15 years after negotiations with film studios failed to reach a new contract.

    History suggests the walkout could last weeks or even months, meaning a hiatus in production for everything from favorite late-night shows to hit streaming series. Here’s how we got here and what could happen next.

    Who is involved?

    Some 11,500 film and TV writers belonging to the Writers Guild of America are negotiating with the Alliance of Motion Picture and Television Producers (AMPTP), which represents eight major studios: Amazon, Apple, Disney, Warner Bros. Discovery, NBC Universal, Netflix, Paramount and Sony. (CBS News and Paramount+ are owned by Paramount Global.)

    WGA members work in film, TV, animation and fiction podcasts, according to the Los Angeles Times. 

    Which shows are affected by the writers’ strike?

    Late-night shows, which are written daily, are expected to stop production immediately. “The Late Show” on CBS, “Jimmy Kimmel Live!” on ABC, “The Tonight Show” on NBC, “Late Night” on NBC and Comedy Central’s “The Daily Show” are expected to turn to reruns starting Tuesday.

    Less clear is how daytime talk shows, which tend to rely more on chit-chat by hosts and celebrity interviews, could be affected. Production on ABC’s “The View” continued uninterrupted during the last strike in the 2007-08 season, for example. 

    Meanwhile, streaming networks aren’t likely to see an immediate impact given that they work on longer timelines than late-night shows.

    Some TV show hosts have voiced support for the striking writers. On “The Late Show” Monday night, host Stephen Colbert expressed support for the union. 

    “Everybody, including myself, hopes both sides reach a deal,” he said. “But I also think that the writers’ demands are not unreasonable. I’m a member of the guild. I support collective bargaining. This nation owes so much to unions.”


    Future News Jokes Now…Just In Case by
    The Late Show with Stephen Colbert on
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    Speaking on “Late Night” on Friday, host Seth Meyers, a WGA member, also expressed support for striking writers, while saying a strike “would really be a miserable thing for people to have to go through.”

    Writers “are entitled to make a living,” he said. “I think it’s a very reasonable demand that’s being set out by the guild. And I support those demands.”

    Why are writers striking?

    At the core of the dispute is the explosion in streaming services and its effects, including the erosion of writers’ pay and job security, according to the WGA.

    Even as budgets for series have grown, writers are making a smaller share of the money, the guild said. Streaming services use smaller writing staffs, which the industry calls “mini rooms,” and also tend to have shorter seasons than broadcast shows. That leaves some writers scrambling to put together several sources of income in a single season.


    Production halted on many shows as entertainment writers go on strike

    03:07

    On average, showrunners for streaming series make less than half of what showrunners for broadcast series do, the WGA said. And because writers on streaming shows don’t get the back-end payments that have allowed broadcast and screenwriters to make a living, such as syndication and international licensing, the WGA is seeking to secure more pay on the front end for its members. 

    Since 2018, inflation-adjusted pay for screenwriters has fallen 14%, according to the guild. For writer-producers, pay has sunk 23%. 

    What are the writers asking for?

    The Writers Guild wants total pay increases for members amounting to about $429 million per year, according to the WGA, while the AMPTP’s counter would run $86 million per year.

    The number of writers working at guild minimum pay has risen from about a third to about half in the past decade. Meanwhile, writers for comedy-variety shows for streaming services have no minimum pay protections and tend to get paid less than their counterparts in broadcast. 

    The minimum pay for WGA members varies based on a writer’s title and the length of the individual’s employment contract, but the minimum for the lowest-paid writer is $4,546 per week, according to Variety.

    The studios “have closed the door on their labor force and opened the door to writing as an entirely freelance profession,” WGA leadership said Monday in a statement. That has created a “gig economy inside a union workforce,” it added.

    Studios counter that they are thinking about the long-term health of the industry. The AMPTP said Monday that the primary sticking points to a deal revolved around the guild’s request for a minimum number of scribes per writer room. The group added that its offer “included generous increases in compensation for writers as well as improvements in streaming residuals.”

    A key industry dynamic behind the labor dispute: Hollywood is under increased pressure from Wall Street to turn a profit. After years of lavish spending to expand streaming services, many studios and production companies are slashing spending. For example, the Walt Disney Co. is cutting 7,000 jobs, Warner Bros. Discovery is slashing costs to lessen its debt and Netflix has pumped the brakes on spending growth.

    “The current streaming services are largely not profitable. Only Netflix is turning a profit right now,” Alex Weprin, media and business writer at the Hollywood Reporter, told CBS News. “These large entertainment companies, they don’t really have a good sense of how profitable these services are going to be and how much they can afford to pay the writers.”

    What does AI have to do with it?

    Artificial intelligence is another point of contention in the labor talks, with guild writers asking for strict limits on AI use in scripts. They don’t want to rewrite material generated by AI, nor for AI to rewrite human-created scripts, and they want union-covered material to be excluded from training AI models. 

    The studios have so far rejected these demands, a position one writer described as “insulting.”

    “We are fighting for nothing less than the survival of writing as a viable career,” writer and comic Adam Conover tweeted.

    How much do Hollywood and TV writers make?

    Staff writers, the lowest-paid roles, typically work an average of 29 weeks on a network show for $131,834 annually, or an average of 20 weeks on a streaming show for $90,920. For a writer-producer, the figure is $6,967 per week, according to the trade magazine Variety. For a writer-producer, the figure is $6,967 per week.

    Advocates for the studios and producers say that pay is far from the poor-house picture writers present publicly. AMPTP leaders say their priority is “the long-term health and stability of the industry” and that they are dedicated to reaching “a fair and reasonable agreement,” according to the Associated Press.

    What are writers allowed to do during the strike?

    According to the WGA’s strike rules, writers cannot do any writing or rewriting during the strike. They are barred from attending meetings or negotiating with the studios, pitching new projects, entering agreements to option their work or even attending promotional events for existing projects.

    By contrast, they are allowed to accept payment for any writing that’s already been completed. Writer-producers, writer-actors and writer-directors are allowed to do the non-writing part of their job during the strike, but they’re banned from doing any writing no matter how minor, such as revising dialogue or tweaking stage directions. 

    When was the last writers’ strike? 

    The last time the film and TV writers put down their keyboards was in 2007-08 in a strike that lasted 100 days.

    During that labor action many shows, such as “30 Rock,” “CSI,” and “Grey’s Anatomy,” shortened their seasons while studios pumped out more unscripted reality shows. “Big Brother” and “The Amazing Race” both increased their output. “The Apprentice,” hosted by Donald Trump, got new life when a celebrity version of the shelved show was created to help fill the scripted void.

    Among the main concessions the writers won that time were requirements for fledgling streaming shows to hire unionized writers if their budgets were big enough. It was an early harbinger of nearly every entertainment labor fight in the years that followed.

    How often have writers gone on strike?

    Writers have gone on strike more than any group in Hollywood, according to the AP, with six strikes since 1960. The first strike, in 1960, lasted nearly five months; strikes followed in 1973, 1981 and 1985.

    The longest work stoppage, lasting 153 days, came in 1988.

    The Associated Press contributed to this report.

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  • Hollywood Writers Begin Strike, Late-Night Shows To Go Dark

    Hollywood Writers Begin Strike, Late-Night Shows To Go Dark

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    By JAKE COYLE, The Associated Press.

    Television and movie writers soured by Hollywood’s low pay in the streaming era went on strike for the first time in 15 years on Tuesday, meaning late-night and variety shows would be the first programs to go dark.

    The labor dispute could have a cascading effect on TV and film productions depending on how long the strike lasts, and it comes as streaming services are under growing pressure from Wall Street to show profits.

    The Writers Guild of America’s 11,500 unionized screenwriters prepared to picket after negotiations with studios, which began in March, failed by Monday’s deadline to yield a new contract. All script writing is to immediately cease, the guild informed its members.

    The guild is seeking higher minimum pay, less thinly staffed writing rooms, shorter exclusive contracts and a reworking of residual pay — all conditions the WGA says have been diminished in the content boom driven by streaming.


    READ MORE:
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    “The companies’ behaviour 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 said in a statement.

    The Alliance of Motion Picture and Television Producers, the trade association that bargains on behalf of studios and production companies, said it presented an offer with “generous increases in compensation for writers as well as improvements in streaming residuals.”

    In a statement, the trade association said that it was prepared to improve its 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.”

    A shutdown has been widely forecast for months due to the scope of the discord. The writers last month voted overwhelming to authorize a strike, with 98% of membership in support.

    At issue is how writers are compensated in an industry where streaming has changed the rules of Hollywood economics. Writers say they aren’t being paid enough, TV writer rooms have shrunk too much and the old calculus for how residuals are paid out needs to be redrawn.

    “The survival of our profession is at stake,” the guild has said.

    Streaming has exploded the number of series and films that are annually made, meaning more jobs for writers. But WGA members say they’re making much less money and working under more strained conditions. Showrunners on streaming series receive just 46% of the pay that showrunners on broadcast series receive, the WGA claims.

    The guild is seeking more compensation on the front-end of deals. Many of the back-end payments writers have historically profited by – like syndication and international licensing – have been largely phased out by the onset of streaming. More writers — roughly half — are being paid minimum rates, an increase of 16% over the last decade. The use of so-called mini-writers rooms has soared.


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    Hollywood’s trade association said Monday that the primary sticking points to a deal revolved around those mini-rooms — the guild is seeking a minimum number of scribes per writer room — and duration of employment restrictions. The guild has said more flexibility for writers is needed when they’re contracted for series that have tended to be more limited and short-lived than the once-standard 20-plus episode broadcast season.

    Many studios and production companies are slashing spending. The Walt Disney Co. is eliminating 7,000 jobs. Warner Bros. Discovery is cutting costs to lessen its debt. Netflix has pumped the breaks on spending growth.

    When Hollywood writers have gone on strike, it’s often been lengthy. In 1988, a WGA strike lasted 153 days. The last WGA strike went for 100 days, beginning in 2007 and ending in 2008.

    The most immediate effect of the strike viewers are likely to notice will be on late-night shows and “Saturday Night Live”. All are expected to immediately go dark. During the 2007 strike, late-night hosts eventually returned to the air and improvised material. Jay Leno wrote his own monologues, a move that angered union leadership.

    On Friday’s episode of “Late Night”, Seth Meyers, a WGA member who said he supported the union’s demands, prepared viewers for re-runs while lamenting the hardship a strike entails.

    “It doesn’t just affect the writers, it affects all the incredible non-writing staff on these shows,” Meyers said. “And it would really be a miserable thing for people to have to go through, especially considering we’re on the heels of that awful pandemic that affected, not just show business, but all of us.”

    Scripted series and films will take longer to be affected. But if a strike persisted through the summer, fall schedules could be upended. And in the meantime, not having writers available for rewrites can have a dramatic effect on quality. The James Bond film “Quantum of Solace” was one of many films rushed into production during the 2007-2008 strike with what Daniel Craig called “the bare bones of a script.”


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    “Then there was a writers’ strike and there was nothing we could do,” Craig later recounted. “We couldn’t employ a writer to finish it. I say to myself, ‘Never again’, but who knows? There was me trying to rewrite scenes — and a writer I am not.”

    With a walkout long expected, writers have rushed to get scripts in and studios have sought to prepare their pipelines to keep churning out content for at least the short term.

    “We’re assuming the worst from a business perspective,” David Zaslav, chief executive of Warner Bros. Discovery, said last month. “We’ve got ourselves ready. We’ve had a lot of content that’s been produced.”

    Overseas series could also fill some of the void. “If there is one, we have a large base of upcoming shows and films from around the world,” said Ted Sarandos, Netflix co-chief executive, on the company’s earnings call in April.

    Yet the WGA strike may only be the beginning. Contracts for both the Directors Guild of America and SAG-AFTRA, the actors union, expire in June. Some of the same issues around the business model of streaming will factor into those bargaining sessions. The DGA is set to begin negotiations with AMPTP on May 10.

    The cost of the WGA’s last strike cost Southern California $2.1 billion, according to the Milken Institute. How painful this strike is remains to be seen. But as of late Monday evening, laptops were being closed shut all over Hollywood.

    “Pencils down,” said “Halt and Catch Fire” showrunner and co-creator Christopher Cantwell on Twitter shortly after the strike announcement. “Don’t even type in the document.”

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    Melissa Romualdi

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