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ABC
Better Off Ted, AFTRA
Brothers & Sisters, SAG
Castle, SAG
Cougar Town (NEW), AFTRA
Desperate Housewives, SAG
Eastwick (NEW), SAG
Flash Forward (NEW), AFTRA
The Forgotten (NEW), AFTRA
Grey’s Anatomy, SAG
Hank (NEW), AFTRA
The Middle (NEW), SAG
Modern Family (NEW), AFTRA
Private Practice, SAG
Scrubs, SAG
Ugly Betty, SAG
CBS
Accidentally on Purpose (NEW), AFTRA
The Big Bang Theory, SAG
Cold Case, SAG
Criminal Minds, SAG
CSI, SAG
CSI: Miami, SAG
CSI: NY, SAG
Gary Unmarried, AFTRA
Ghost Whisperer, SAG
The Good Wife (NEW), AFTRA
How I Met Your Mother, SAG
Medium, SAG
The Mentalist, SAG
NCIS, SAG
NCIS: Los Angeles, (NEW) SAG
New Adventures of Old Christine, SAG
Numb3rs, SAG
Three Rivers, (NEW) AFTRA
Two and a Half Men, (NEW) SAG
NBC
30 Rock, SAG
Chuck, SAG
Community, (NEW) AFTRA
Day One, (NEW) AFTRA
Heroes, SAG
Law & Order, SAG
Law & Order: Special Victims Unit, SAG
Mercy, (NEW) AFTRA
The Office, SAG
Parenthood, (NEW) AFTRA
Parks and Recreation, AFTRA
Southland, SAG
Trauma, (NEW)< AFTRA
FOX
Bones, SAG
Brothers (NEW), AFTRA
Dollhouse, SAG
Fringe, SAG
Glee (NEW), SAG
House, SAG
Human Target (NEW), AFTRA
Lie to Me, SAG
Past Life (NEW), AFTRA
‘Til Death, AFTRA
CW
90210, AFTRA
The Beautiful Life (NEW), AFTRA
Gossip Girl, SAG
Melrose Place (NEW), AFTRA
One Tree Hill, SAG
Smallville, SAG
Supernatural, SAG
The Vampire Diaries (NEW), AFTRA
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Hey Nikki, don’t forget the game and reality shows whose hosts are working under AFTRA contracts. Obviously not huge generators for the unions the way scripted shows are, but another important piece of real estate taken by AFTRA.
FYI Every show I watch (Mad Men on AMC, Burn Notice & of course Law & Order: Criminal Intent on USA) is a SAG show.
The new AFTRA shows I’ve seen are pretty crap…it’s like actors can tell that when they work AFTRA they’re going to get the royal runaround when it comes to getting paid & everything promised in their contracts & it shows in their performances. It’s subtle but it’s there.
I’m thinking the same probably happens to the other unions members too (if they’re cheaping out on the actors why wouldn’t they cheap out on everyone else, the public included?). Sad.
I am really getting frustrated by how ridiculous some of these shows that are on tape look visually. I am a dual card holder, but believe me, I wish everything was SAG.
But what I am talking about is when video is processed digitally and color graded to give it more of a film look, but instead it just freaks my eye out. And it is weird to have a film look without the 24fps rate of motion – seeing graded images without the slight “floaty” alteration makes things look cheap and “high school”. Or when the background seems a lot clearer than it should be, and the characters’ focus seems a little off.
I know that people think that we’ll get used to it, but I don’t think I ever will.
ALSO, I am so mad that people, even NEWS SHOWS have started throwing out the picture safe margin guidelines for a regular TV. HELLO, HOLLYWOOD! Not everyone in the world is interested in spending a lot to get an HD tv! Whenever I see words cut off by the margins it just reminds me of how many people have their heads so far up their own asses that they’ll never see how anyone else lives – even for the sake of PROFESSIONAL STANDARDS! That is just sloppy, and just because we switched to digital broadcasting doesn’t mean everyone bought a new TV – if you have cable or the set top box, you didn’t have to. You are always supposed to bear in mind the people with less technology.
HBO? Granted, it’s NOT television…
What about Showtime and HBO???
I look at this list and again, I just wonder, why are there two unions??? this is just stupid. makes no sense at all.
whaaaaaaatever.
Two and a Half Men… new show on CBS? I wonder if it’ll stick.
Thank you for the list Nikki. Maybe now people can see what actors are up against trying to qualify for pension and health when the work is divided up like this.
You can actually work a lot, but not qualify for coverage from EITHER guild because of this division. I honestly now feel like one of those polar bears clinging to the ice that was there – last year, as it all erodes around me.
All these shows however, are DGA and WGA. Should an a.d. work on American Idol or one of those shows, their pension and health all goes to the same place, as it should. But not for the actor.
You can be lucky enough to actually get a job, and decide if you can afford to take it. The pension and health might go to the wrong pot.
And of course AFTRA’S health care plan costs WAY MORE than SAG’S :
I have the info here:
SAG – PLAN 1 $150.00 a quarter / $600.00 a year.
PLAN 2 $195.00 a quarter / $780.00 a year
that includes a spouse or significant other.
AFTRA – SELF $330.00 a quarter / $ 1,320.00 a year
SELF +1 $1,880.00 a quarter / $ 7.520.00 a year
SELF +1+ $3,283.00 a quarter /$ 13, 132.00 a year
You do the math .
Peggy Lane O’Rourke member SAG/AFTRA/AEA
What about “Rules Of Engagement” on CBS?
The key number is the number of NEW shows which are 19 NEW AFTRA vs. 5 NEW SAG. That’s a staggering number. Then there are the cable network shows that add to that as well. Bottom line is AFTRA now has 24 primetime shows vs. 41 SAG. Last season that number was a LOT different.
So now SAG actors have less opportunity to qualify for P&H because our work is now split between 2 unions.
Is this a surprise to anyone but those who thought they could run AFTRA out of business? I’ve been a proponent of merging the unions for 10 years. the writing was on the wall back then when digital technology started being used and pretty much ended the separate jurisdiction created many years before.
This is lunacy! AFTRA and SAG share around 50,000 members or so depending upon who you talk to. MANY SAG members never act as principals, but work as background, singers, dancers, voice over artists, puppeteers, motion capture and various other types of roles. SAG isn’t an ACTORS union, but a PERFORMERS UNION. The purity line doesn’t play and it’s time we all got over it and started thinking about UNITING ALL PERFORMERS under ONE UMBRELLA.
I’m sure I’ll be skewered here, but it has to be said. The time of fighting each other MUST PASS.
In TRUE Solidarity,
Peter Elliott
Rules of Engagement on CBS is an AFTRA show. It’s produced by Sony studios which chose AFTRA a few years ago.
the screen performers union? who knew?
please. one union.
SAG.
Peter, you have forgotten that AFTRA is a performers and a non-performers union, what with singers, dancers, tv newsreporters, voiceover artists … oh and let’s not forget …. all the many members who have never acted a day in their lives but who can outright plum join the union … see also Roberta Reardon. I would never want to merge with these assholes. That’s when you can kiss your pension and health absolutely good bye because they may have the lion’s share of primetime pilots, but they are up to their eyeballs in debt … see also 20+ years they’ve filed extensions with E.R.I.S.A. who can literally liquidate monies right out of members’ pensions … and probably within a few short years, will do just that.
AFTRA is a sellout union that’s been organizing a SAG overthrow to save it’s damn few vested newsreporters. Open your eyes and do your homework! Idiots like you are the reason this town is such a mess. You screw up the union system, you put us all out of work.
What? AFTRA is a performers and a non-performers union? With all the many members who have never acted a day in their lives but who can outright plum join the union? Interesting comments since I know two individuals who qualified and joined SAG who have NEVER acted a day in their lives and didn’t even step on set to “earn” their membership. They both did three days as background on a SAG show because one of them had a specific car and one of them had a specific dog. Neither stepped on set, only the car and the dog were used and they are both now members of the almighty SAG – Screen Actor’s Guild. How are these two people considered actors? Call Central Castings union background line sometime…if you have lots of tattoos, can speak cantonese, ride a skateboard while juggling and jumping through fire, and are an all around freak, you can get into SAG. Being a SAG member does not make you any more qualified than being a member of AFTRA.
SAG and AFTRA as frenemies isn’t working out so well for the actors. As others have pointed out, it’s not just the differences in P & H, but working and contributing to two different funds.
IMHO, what a good number of actors are waiting for is a merger proposal that doesn’t give actors the short end of the stick. We didn’t see that last time. Perhaps what merger advocates need to put forth is a proposal that allows actors to run their union from a position of strength.
There’s a lot to work out, and it’s dizzying just thinking about it.
Gotta keep the SAG brand name – public perception is, it’s a lot stronger than AFTRA. Case in point – does AFTRA have a televised annual awards show???
Gotta keep direct election of executive officers for the actors. SAG members aren’t likely to go with the watering down of democracy within the union.
Gotta do some serious number-crunching, which means both unions will have to come clean with independent audits, published results. A lot of actors have questions about the health of AFTRA’s pension/health, and they’ll need clear answers if merger proponents expect them to approve a merger. If (and I don’t know the answer to this) AFTRA’s health plan has issues, merger proponents are going to have to show actors the benefits of shouldering this burden.
Gotta structure contract ratification so that only actors vote on their contracts, broadcasters theirs, and so on. Regardless of their position on the Schedule A vote, the fact a weatherman in Cleveland was voting on W&W for actors in NY and LA stuck in the craws of a lot of actors. Any merger proposal that allows Colleen Williams or Carrie Tombasian to vote on a prime time scripted television contract is rather likely to meet the disdain of a lot of actors. And really, should Matt Mulhern (and I say this with love, man) be allowed to vote on a broadcasters’ contract? A radio DJs’ contract?
Whatever the truth is, there is certainly the perception that SAG protects its members on the job better than AFTRA. A viable merger proposal must include language that mandates strong on-set protections and strict and vigorous enforcement.
I’m sure the above is by no means exhaustive.
As a voter in the upcoming SAG elections, I seriously don’t want to hear reflexive positive or negative reactions to the very idea of a merger. What I do want to hear is, WHAT KIND of merger are we talking about here? And how are we going to make this work better for all of the members of this merged entity? I’m also going to ask myself, who do I trust to better protect actors’ interests in merger talks? Truly, the devil is in the details.
To me – I’m not sure I follow you. SAG represents Extras, Voice Over, Stunt Performers, Singers, puppeteers and more. In fact, I would bet that a significant number of SAG members have NEVER had a line in front of the camera. Your statement of financial insolvency of AFTRA is rumor and innuendo. Show me some FACTS please.
As to P&H, kiss it goodbye anyway. Most actors who aren’t series regulars qualify by doing multiple TV shows with the same union. Now they won’t qualify. And what percentage of SAG members actually qualify for P&H on an annual basis anyway? Are YOU qualified? I’m not. And there’s less this year than before. I’d guess it’s less than 5%.
To mheister – The last consolidation gave significant control to ACTORS. It broke the union into different sub-sets and weighted board representation based on membership enrollment. It gave 75%+ of the board seats to ACTORS because that’s the mix. It also only allowed members of each sub-set (i.e. Actors) to vote on contracts affecting them. Thus only Actors voted on Actors contracts. It was a GREAT solution, shot down by fear mongering over control issues and P&H.
The P&H is smoke and mirrors. Again, what percentage actually qualify for it? The complexities of merging were NEVER finalized because the P&H board wouldn’t conduct a full review until the merger was voted for. It’s not fiscally responsible and I know because I talked to the P&H board members.
Compare that to the fact that at this rate the numbers will be split almost 50-50 for TV next year and more films are being shot digital, giving AFTRA more films and you can see how this will play out. Our work will be split, our unions will be split and actors will suffer the consequence.
To those who think just because we are SAG that we can muscle our way over AFTRA and expect them to “greet us as liberators”, I ask you “How’s that working out so far?”.
I think the answers are crystal clear. I’m supporting anyone in the election who supports a merger. If we had merged years ago, I GUARANTEE we would have made much stronger gains against the AMPTP.
Think for yourselves.
Peter! Can you please tell me if Grey’s Anatomy is AFTRA or SAG??
Actors aren’t stupid when it comes to the math, but they are stuck. Both unions want to stay alive by themselves, and at this point that means less support for actors and more for the union’s survival itself. At this rate, either SAG has to put in a greater fight for actors to only, legally be rep’d by SAG and NOT AFTRA. Or the two unions must merge, and then strengthen benefits and protections for the actors after that merge. It’s either one or the other, not two unions.
SAG is the best union. It has sole interests in actors and for actors, it COMPLETELY supports me, it fights for me (or rather historically has fought for me), and would be the better sole choice.
For the powers that be to allow two actor unions was a disservice to labor, and that alone should be reason enough to cut out AFTRA.
So what we have learned from this list is AFTRA shows are crap= Hence look at the CW
SAG= Good Quality Story line Driven shows.
Could be why there are more returning SAG shows than AFTRA….
“SAG and AFTRA as frenemies isn’t working out so well for the actors.”
That’s the bottom line, no matter what legitimate beef one side may have with the other.
Can’t believe I am dignifying you a response. I was one year away from being vested w/ SAG and now it’s not going to matter since AFTRA snuffed it away. Secondly, if you DON’T know about what’s happened between E.R.I.S.A. and AFTRA, you have obviously a) never served on the Board and b) never knew anyone who did. They’ve been pulling this crap for years. This is entirely why they were up in arms over the digital programming because E.R.I.S.A. basically told them, “Find money NOW or we will take away your union status.” That is why AFTRA bargained SAG under the table on this recent contract … because the AFTRA under SAG terms and conditions still wasn’t making them enough money. Quit in fact, they still face the same dwindling numbers. They lost enormous amounts of money in the 2000 stock market. They have literally been in an office space at 5757 Wilshire that SAG is footing the bill for. But again, you don’t know this because you are one of the many young, uneducated, blind fools who honestly has yourself believing that in merging the two unions that you can merge legally protected separate pension funds when in all honesty it CANNOT be done. The funds are not part of the unions. The are legally independent funds that are protected through E.R.I.S.A. and the only way to dissolve them is to a) run out of money like AFTRA already is or to b) not pay your monies due to E.R.I.S.A. like AFTRA already is and risk losing everything when they take away their union status and LIQUIDATE them for monies they’ve owed for 20+ of extensions and take it right out of the mouths of their vested members. And getting FULLY vested is damn near impossible. Quite in fact, most who are are TELEVISION NEWSREPORTERS. And yet, geniuses like you have yourselves believing that they are more of a performers union than SAG when in actuality about ONE QUARTER of their members aren’t even in the entertainment industry. Which is why you can be a real estate agent in Peoria and join AFTRA and never do anything entertainment related because they will take ANYONE. And THOSE are the types of people who are allowed to vote on MY CONTRACTS and my PENSION and HEALTH. And you’re the douche who is telling me that I should be okay with that? No, I am sorry. I think that’s equivalent to people voting for a presidential candidate because he or she is the most “popular” or the “hottest”. Such a vapid and empty-headed delusion you are living under. This is why the unions suck because the membership(s) is getting more retarded each year. I weep for the future of entertainers everywhere when morons like you are the majority of our membership and blindly vote away our futures. No, I am not vested yet but many of my friends and contemporaries are and have themselves thinking they’re okay …. that is until 5 years down the road when AFTRA, even if it no longer exists, which it probably won’t, will have completely unseamed all the hard work the forefathers of SAG fought so hard for. And YOU want to merge with the union that took it away. How thoughtful of you. It’s no wonder these contracts passed as I am more than sure you were one of those who said, “Vote Yes, and let’s get back to work,” and yet here we are … auditioning as usual and there are 43 pages in the breakdowns … a good bit of it low paying AFTRA. So, yeah, let’s get back to work. I will share my ham sandwich with you if you share your shit sandwich of a paycheck with me.
#
To me – I’m not sure I follow you. SAG represents Extras, Voice Over, Stunt Performers, Singers, puppeteers and more. In fact, I would bet that a significant number of SAG members have NEVER had a line in front of the camera. Your statement of financial insolvency of AFTRA is rumor and innuendo. Show me some FACTS please.
As to P&H, kiss it goodbye anyway. Most actors who aren’t series regulars qualify by doing multiple TV shows with the same union. Now they won’t qualify. And what percentage of SAG members actually qualify for P&H on an annual basis anyway? Are YOU qualified? I’m not. And there’s less this year than before. I’d guess it’s less than 5%.
To mheister – The last consolidation gave significant control to ACTORS. It broke the union into different sub-sets and weighted board representation based on membership enrollment. It gave 75%+ of the board seats to ACTORS because that’s the mix. It also only allowed members of each sub-set (i.e. Actors) to vote on contracts affecting them. Thus only Actors voted on Actors contracts. It was a GREAT solution, shot down by fear mongering over control issues and P&H.
The P&H is smoke and mirrors. Again, what percentage actually qualify for it? The complexities of merging were NEVER finalized because the P&H board wouldn’t conduct a full review until the merger was voted for. It’s not fiscally responsible and I know because I talked to the P&H board members.
Compare that to the fact that at this rate the numbers will be split almost 50-50 for TV next year and more films are being shot digital, giving AFTRA more films and you can see how this will play out. Our work will be split, our unions will be split and actors will suffer the consequence.
To those who think just because we are SAG that we can muscle our way over AFTRA and expect them to “greet us as liberators”, I ask you “How’s that working out so far?”.
I think the answers are crystal clear. I’m supporting anyone in the election who supports a merger. If we had merged years ago, I GUARANTEE we would have made much stronger gains against the AMPTP.
Think for yourselves.
Comment by Peter Elliott — August 13, 2009 @ 10:30 am
#
Actors aren’t stupid when it comes to the math, but they are stuck. Both unions want to stay alive by themselves, and at this point that means less support for actors and more for the union’s survival itself. At this rate, either SAG has to put in a greater fight for actors to only, legally be rep’d by SAG and NOT AFTRA. Or the two unions must merge, and then strengthen benefits and protections for the actors after that merge. It’s either one or the other, not two unions.
SAG is the best union. It has sole interests in actors and for actors, it COMPLETELY supports me, it fights for me (or rather historically has fought for me), and would be the better sole choice.
For the powers that be to allow two actor unions was a disservice to labor, and that alone should be reason enough to cut out AFTRA.
Comment by Working Actor — August 13, 2009 @ 11:27 am
MHeister, for the most part, I usually agree with most of what you have had to say here and elsewhere on BB’s. However, with all due respect, I must clear up a misconception you have regarding Keri Tombazian. Although Keri may not appear on screen or in front of a camera, if you check her on imdb you’ll notice that she is credited as being a voice artist and/or a narrator. Also, it may be important to note that many SAG members often work as Singers and Voice Artists on movie and TV sound tracks). This work can be very lucrative SAG work that is not in front of the camera. Also, fyi, for a short time, Keri served on the SAG board.
AFTRA are not ‘assholes’. MOST of Their members are bona fide professionals. Being one as a news broadcaster, for many years, I am sorry there are more shows coming up under AFTRA, but that is not AFTRA’s fault. It is SAG’s fault, and people who like to try the latest digital technology (from film to hd etc…)
what about the closer on TNT
is it aftra or sag?
thanks
paola
‘The Closer’ is a SAG show, & sadly is going to be gone next year.
Is there any updated list for 2010-2011 season?
Your remark on image quality is a bit vague and I think you may be Ill informed on the video your watching. Most digitally shot video (Arri, Red, Sony Fx) are shot in 24fps for shows & movies, 30/60fps for News and some shows… Which are all broadcast at the TV standard of 30fps for the most part. A well-shot and professionally graded image should hold up to any film image and be nearly indescernable. If you think you can tell Arri Alexa footage apart from film then you sir have a better eye than myself and this is what I do for a living. I do know what your complaining about but that’s something I have only seen prominently in college/high school productions or shorts etc that were shot on small sensor prosumer camcorders. The Bg you refer to being to sharp is reliant on the size of the sensor as well as the aperture of the lens… That’s up to the DP for the most part & is usually only a problem in good equipment when shooting outside without proper ND filters, meaning you must stop down the lens to prevent overexposure thereby increasing the dof
Your remark on image quality is a bit vague and I think you may be Ill informed on the video your watching. Most digitally shot video (Arri, Red, Sony Fx) are shot in 24fps for shows & movies, 30/60fps for News and some shows… Which are all broadcast at the TV standard of 30fps for the most part. A well-shot and professionally graded image should hold up to any film image and be nearly indescernable. If you think you can tell Arri Alexa footage apart from film then you sir have a better eye than myself and this is what I do for a living. I do know what your complaining about but that’s something I have only seen prominently in college/high school productions or shorts etc that were shot on small sensor prosumer camcorders. The Bg you refer to being to sharp is reliant on the size of the sensor as well as the aperture of the lens… That’s up to the DP for the most part & is usually only a problem in good equipment when shooting outside without proper ND filters, meaning you must stop down the lens to prevent overexposure thereby increasing the depth of field… A problem that is just as possible on film as it is digitally.
My advice for you is to be a more active observer and researcher to understand the technology and the benefits and advances made in the digital field.
Also, get a flat screen… If your not on welfare you can afford it, Walmart and Costco constantly have 32″ sets w/1080p for under $400… Most every legit production does shoot for compliance in the safe-zone. Ever notice that before flat screens movies were still released/shot in wide format for movie theaters while being mindful of the 4:3 for VHS release… however the 4:3 people (you) are clearly the minority and they should and do care more about how it’ll look on the theatre screen & our flat screens.