Strike Sequel? Actors Guilds Begin Talks
Just as we were starting to pick up the oldteevee pieces in the wake of the crippling writers’ strike, the actors guilds have started contract negotiations with Hollywood studios. If they go on strike, what will that mean for web video? Honestly, probably not much.
The writers’ strike was supposed to be a tipping point for online video. With nothing to choose from but repeats and reality shows, audiences were expected to turn to web shows. Fueled with hopes of casting off the shackles of studio oppression and launching their own online production companies, some of the writers even met with VCs. The demise of the boob tube was on the horizon.
Except the demise never came. In January, when the strike was in full swing, the amount of web video watched actually declined (though it did bounce back again again in February). Audiences said they would return to their favorite TV shows. And nary a peep has been heard from those new online studios.
And now, for the first time in 27 years, the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA) are negotiating their new contracts separately. It’s cast a feeling of unease over an industry that’s just getting back on its feet.
Yet since most independent web shows involve non-SAG talent, a strike wouldn’t have an immediate impact on their production. Stage 9′s upcoming show Trenches, for example, is non-SAG. quarterlife, however, is under a SAG agreement, so Bitsie Tilloch would have some time on her hands.
SAG actors are also forbidden to work in non-SAG productions, so presumably, they wouldn’t risk ticking off the union by running to the web for a quick paycheck. New media studios aren’t exactly asking for Hollywood talent anyway. That’s part of the beauty of the web — anyone can be a star.
But for those dramatic or comedic series looking to break big, without access to good acting (or at least better acting), they’ll have a tough time pulling in big audiences. Which will leave us…pretty much right where we are now.
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Chris, I think you’re a little short-sighted about the impact that the WGA strike had on internet tv. The ComScore stats from Nov.07-Feb.08 were to be expected. Consider the bigger picture: It’s WAY too early to tell if the 100 day strike was a tipping point for online video. I bet down the road we’ll look back on this time period as when the mainstream media began reporting the existence of web shows and introduced the possibilities of the exciting new medium. Maybe it wasn’t a tipping point. But at the very least, it was a considerable bump in general awareness.
By the way, many thanks to you and all the folks at NewTeeVee. Your content is great.
Chris, great analysis here. I’m a member of SAG and AFTRA. As a citizen journalist I did a daily podcast from the writers picket line. (Shameless plug: it’s called The Writers Strike Chronicles and it’s available in iTunes.)
As the strike dragged on, there seemed to be a lot of enthusiasm from the writers when they realized they could go around the studios and create their own content on the web. Hence they met with VC’s, as you said.
FWIW, “Funny or Die” which raised $15 million from Sequioa Capital — I read it on here on New Tee Vee first — is not a SAG signatory, although Will Ferrell is a member in good standing and currently has a movie out in release that was filmed under SAG jurisdiction.
Since new media studios fails to seek out union talent, I wonder how unions can serve their members in this digital age? I mean if anyone can be a star on the Internet, then does the medium make the entertainment labor organizations (and perhaps Big Media) a zombie?
@Bacon
I want web video to succeed! It pays my bills.
@T.Barnes
When I spoke with SAG last year I brought up the Will Ferrell conundrum, they didn’t really have an answer for that.