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Title: Actors Continue Longest Strike in History as Talks with Studios Break Off

Subtitle: Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) in a prolonged standoff with studios

By Pierre Herubel

In a continuing battle for long-term pay, employment consistency, and control over the use of artificial intelligence, film and TV actors entered their 100th day on strike after discussions with studios abruptly ended. While screenwriters have returned to work, actors remain on picket lines, their leaders cautiously optimistic as negotiations resumed on October 2. However, progress has been slow, leading to the breakdown in talks on October 11.

Members of the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) had high hopes for the negotiations, especially after seeing the gains made by writers, who had secured major deals just weeks earlier. But the studios ultimately deemed the actors’ demands “exorbitantly expensive,” leading to an impasse.

SAG-AFTRA President Fran Drescher expressed frustration at the studios’ sudden withdrawal from negotiations, pointing out the limited availability and lack of commitment from the other side. The Alliance of Motion Picture and Television Producers (AMPTP) justified their decision, claiming that the union demanded a fee from each streaming service subscriber, an economic burden the studios were unable to accept.

Netflix co-CEO Ted Sarandos acknowledged the setback caused by the strike, expressing disappointment in the stalled momentum. However, SAG-AFTRA leaders dismissed the studios’ portrayal of their demand as a tax on customers. They insisted that the executives themselves were eager to transition from a popularity-based compensation model to one based on the number of subscribers.

While the studios claimed the per-subscriber charge would cost them $800 million annually, SAG-AFTRA argued that this estimate was inflated. The union clarified that the number was based on a request for $1 per customer per year, which they later reduced to 57 cents after excluding non-relevant programming like news and sports.

With no end in sight, the actors find themselves in uncharted territory. This strike is the longest in the history of SAG-AFTRA. Even the union’s seasoned leaders, such as Duncan Crabtree-Ireland, are facing unprecedented circumstances. They plan to continue rallying, picketing, and publicly advocating for their cause until the studios signal a willingness to resume negotiations.

SAG-AFTRA reaffirmed their unwavering stance, stating that they would not back down on their demands. Drescher emphasized the importance of staying on course, considering this a defining moment for the union.

Comparatively, writers had their own false start with studios during their strike, offering some glimmer of hope for actors. Eventually, negotiations resumed and resulted in a tentative deal after five marathon days of talks.

Hollywood actors’ strikes have been less frequent and shorter than those led by writers. The Screen Actors Guild, now merged with AFTRA, has gone on strike against film and TV studios only three times in its history. In 1960, actors and writers went on strike simultaneously, seeking compensation for their work when aired on television. The strike lasted 42 days.

In 1980, actors went on their longest strike for film and television, which lasted for 67 days. Their demands included payment for work on home video cassettes and cable TV, along with higher minimum compensation for roles. Though compromises were made, it took nearly a month to ratify the deal due to members’ dissatisfaction.

This strike marks a crucial moment for SAG-AFTRA, as they continue to fight for better working conditions and compensation in the evolving entertainment industry. As the strike persists, the actors will remain united in their cause, hoping for a breakthrough in negotiations.

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