Hollywood writers, producers agree on a new contract, averting a damaging strike

The Hollywood Sign.
(Image credit: David McNew/Getty Images)

Just after a midnight deadline on Tuesday, the Writers Guild of America and the Alliance of Motion Picture and Television Producers announced a tentative deal on a three-year contract, averting a damaging strike set to begin Tuesday morning. Negotiations had been ongoing in fits and starts since March 13, and last week 96 percent of WGA members authorized a strike, threatening an immediate halt to late-night TV shows and soap operas and more gradual problems for films and scripted TV shows.

In the new contract, subject to WGA member ratification, the writers got increased pay for the shorter TV seasons that are more common on streaming platforms, higher health contributions, and protected parental leave, among other concessions by the Hollywood producers. "Did we get everything we wanted? No," the WGA told members in a memo early Tuesday. "Everything we deserve? Certainly not. But because we had the near-unanimous backing of you and your fellow writers, we were able to achieve a deal that will net this guild's members $130 million more, over the life of the contract, than the pattern we were expected to accept."

The Week

Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

SUBSCRIBE & SAVE
https://cdn.mos.cms.futurecdn.net/flexiimages/jacafc5zvs1692883516.jpg

Sign up for The Week's Free Newsletters

Join more than 350,000 subscribers and keep yourself informed with a selection of The Week’s most interesting, enlightening and entertaining stories - plus daily puzzles.

Join more than 350,000 subscribers and keep yourself informed with a selection of The Week’s most interesting, enlightening and entertaining stories - plus daily puzzles.

Sign up
Explore More
Peter Weber, The Week US

Peter has worked as a news and culture writer and editor at The Week since the site's launch in 2008. He covers politics, world affairs, religion and cultural currents. His journalism career began as a copy editor at a financial newswire and has included editorial positions at The New York Times Magazine, Facts on File, and Oregon State University.