As AMPTP Contract Negotiations Enter Their Third Day with CEOs, WGA Picket Lines Witness a Surge in Unity and Guarded Hope

By M Muzamil Shami

Images by Getty

On the West Coast, WGA picket lines swelled on Friday in response to guild leaders' call for a robust presence on the streets, coinciding with the third consecutive day of negotiations between labor and management aimed at resolving the strike that has persisted for over four months.

In Hollywood, both Netflix and Paramount witnessed substantial gatherings of WGA and SAG-AFTRA picketers by 9 a.m. The previous week had been rife with rumors circulating through social media and private online and text groups, suggesting that a potential agreement was on the horizon. Meanwhile, in West Los Angeles, a typically large crowd circled Fox Studios.

Many seasoned WGA members advised against becoming overly optimistic about potential outcomes from the AMPTP negotiation sessions later in the day, especially following a third day of discussions involving four CEOs from both sides of the table.

I consider myself a realist," remarked Amy Berg, a showrunner and WGA strike captain known as the "Lot Mom" of Fox Studios. "You hope for a swift resolution, but we've experienced this situation in the past. Just a few weeks ago, everyone got wind on a Friday that the strike was abruptly ending, but that turned out not to be the case.

Writers Guild of America (WGA) and Alliance of Motion Picture and Television Producers (AMPTP) Scheduled for Friday Meeting; Guild Urges Robust Picket Presence amid Escalating Contract Negotiations

Having been a former member of the negotiating committee herself, Berg emphasized that the process of bargaining for contracts is a slow and intricate endeavor, particularly challenging when faced with time constraints. In essence, if the terms aren't satisfactory, Berg believes there's a strong determination among members to hold out, if necessary.

"Even if we've reached consensus on major issues, there's a plethora of language that requires fine-tuning. We must negotiate using precise contractual terms, especially in this strike, to secure the necessary safeguards," she explained. "So, I'm prepared to continue this for an extended period if it means ensuring everyone's protection."

Billy Ray, a screenwriter and host of the "Strike Talk" podcast for Deadline since the commencement of the work stoppage on May 2, emphasized that studios should not underestimate the resilience of writers in the face of a prolonged strike.

"I believe one of the things the companies underestimated was that life was already quite challenging for writers and actors before the strikes. Going on strike isn't as significant a step down," Ray shared with Variety as he moved about outside Fox. "I think there's a strong determination to sustain this for months."

Ray acknowledged that writers' perspectives on the strike and union strategies can vary widely. However, one consistent observation he's made during the ongoing labor action, now in its 144th day, is the recognition that the struggle undertaken by WGA and SAG-AFTRA is part of a broader labor movement in the United States.

"People are currently contemplating the placement of these strikes within a broader discourse surrounding the corporatization of America, the influence of labor, and the value of the individual," Ray articulated. "These are enduring issues. This is a moment to take a stand and resist. Everyone here senses it."

Other writers in the queue on Friday conveyed a spectrum of sentiments, ranging from profound skepticism and frustration towards the studios for the strike's duration to a glimmer of hope that both sides were nearing resolution.

"I'm harboring a strong sense of optimism, but I'm also awaiting guidance from our leadership, recognizing the various strategies that can be employed to boost morale and apply pressure for an agreement," stated WGA member Eleanor Morrison ("Veep"). "I'm keeping that in mind as I approach the atmosphere today."

At 10:30 a.m., the assembly of demonstrators outside Paramount had swelled to match the initial turnout of the WGA strike, commencing on May 2. The atmosphere exuded positivity and playfulness, buoyed by the serendipitous alignment with "puppet" day, where numerous picketers paraded with whimsical hand puppets or intricate marionettes. Guild members struck a chord of cautious hopefulness.

Peter Murrieta, known for his work on "The Wizards of Waverly Place," held the same sentiments. Having served as a strike captain in the 2007-08 WGA strike and participated in the 2000 negotiating committee, he remarked, “When I read the reports that say things are this way or that way, I feel like that has to be probably coming from the other side of the negotiations. So I take it all with a grain of salt. I’m very pumped up and ready to keep going.”

For Jamie Denbo, a figure in "Grey’s Anatomy," the pivotal negotiation points revolved around safeguarding AI and ensuring transparent data practices to facilitate residuals based on success. She emphasized their significance to both the industry and society at large, stating, “They are the most existentially threatening to business and society as a whole. And if this business has to be the example for why that is important, then so be it. I’m here to fight those fights.” Denbo candidly addressed one of the primary contentious issues, the minimum staffing requirements for writers' rooms.

“I work in a room that’s really big, because it’s an older model that has worked and continues to work, so I’m an example of that,” she explained. “But I also do respect creators that have a single voice. I always think it should be an option. They have the money, so give us a room minimum, and whether you want to use all those writers or not should be up to the creative.”

Denbo remained hopeful about both sides reaching an agreement — even if the underlying systemic issues that have ignited labor actions across various industries remain unaddressed.

“This whole fight is so symbolic of the ills of capitalism and corporatization without guardrails,” she reflected. “Do I think that we’ll be able to get a band aid that will hold this business together a little bit longer? Yes. Eventually we will. Because guess what, people still want ‘Grey’s Anatomy.’ And they should, because it’s still good. And I write on it. And I’m a co-EP — put that in there. But I don’t think that this fight is going to end necessarily for a long time.”

At Netflix, seasoned writer Jane Anderson echoed the sentiments of many long-time members as she underscored that, for her, the strike revolves around securing a stable future for budding writers. She acknowledged that the strike has weighed more heavily on those who are younger and less experienced in the field.

"The morale is incredibly high," Anderson remarked, highlighting that the commencement of the SAG-AFTRA strike in mid-July injected a surge of vitality that carried writers through the preceding two months. "There was a significant dip in July when the heat became unbearable, and everyone was dragging," she pointed out.

"I'm not facing the same hardships because I established myself as a writer many decades ago when it was possible to earn a substantial income. I'm truly advocating for the younger writers. I want them to have the chance to own a home and provide for their families," emphasized Anderson.