AFTRA Dominates Another Pilot Season

COMMENTS (18)

• Well, the shift didn’t start because of the threat of a strike (as implied in the article), it started because AFTRA signed a much cheaper deal. Then it solidified because there aren’t enough powerful showrunners anymore to “demand” SAG/35mm. That we’re more or less all AFTRA now shouldn’t/doesn’t surprise anyone.

  Comment by jer — Thursday March 3, 2011 @ 7:10pm PST  Reply to this post

• SAG should sue AFTRA for violating their charter. Aftra is only supposed to be allowed to do TV in the manner of a live broadcast. Too bad SAG is being run by a bunch of morons that don’t have the balls to take series action. SAG will be no more in the next 5 years.

  Comment by informed one — Thursday March 3, 2011 @ 7:43pm PST  Reply to this post

• The SAG and AFTRA pilot contracts are the same, except AFTRA has a slightly HIGHER minimum scale. AFTRA did NOT offer “a much cheaper deal,” jer. That’s BS.

  Comment by Pendalian — Thursday March 3, 2011 @ 7:50pm PST  Reply to this post

  • The real AFTRA perk is the lack of pertinent residuals. NO internet (despite the networks running commercials during web airings) and pennies on the back end. They can burn your face all day and not pay you for it.

    AFTRA screwed actors out of a lot of money.

    Comment by Dick — Thursday March 3, 2011 @ 10:39pm PST  Reply to this post

  • Pendalin… It’s the back end where us Middle Class actors suffer.. The residuals from SAG shows dominate what AFTRA pays.. I work all the time, and thank God I did a few SAG shows.. I get pennies in AFTRA residuals.. Just a hobby for the rest of us from now on.. unless we’re the top 1%

    Comment by David Reebok — Saturday March 5, 2011 @ 9:55pm PST  Reply to this post

• Doug Allen (former SAG NED) was at the end of a very long chain of SAG NED’s and Presidents who started allowing jurisdictional overlap long ago.

  I’ve seen and read those jurisdictional documents 50 times from 1951 when TV in NYC blew up, and they are clear as a bell. “Method of capture” (film, video-tape, now, digital) is NOT the “determining factor.” That is a COMPLETE FABRICATION THAT HAS BECOME COMVENTIONAL WISDOM BY REPETITION IN THE ENETRTAiNMENT MEDIA (don’t beleive me? READ THE NLRB DOCUMENTS from the 1951 decision – available on Sagactor.com).

  What the “worker unit” (“film and TV actors” in this case and in the defining precedent in 1951 decision over TV which AFTRA’s precursor – the TVA – wanted to dominate – but was thrown out on its ass because they needed to prove “actors” would be doing a “different job” in “scripted programming for television.” Nope.

  NLRB threw them out on their ear, and gave ALL “scripted programming for TV” to SAG and ONLY “live TV” to the TVA, which then merged with AFRA, the radio union, to form AFTRA.

  THAT’S when this war began, and the terms of the decision, as it were, handed down by the NLRB and codified in FEDERAL LAW, went 100% to SAG, NOT the TVA, which then became AFTRA.

  NOTHING HAS CHANGED. The ony thing that HASN’T beee done since the 1951 decision? Is SAG governments did NOT file a jurisdictional claim with the NLRB, at ANY point between 1951 and.. about 3 weeks ago (some national board members of SAG, FINALLY got their shit together, but it’s probably too late).

  Such a jurisdictional claim, against AFTRA, by SAG, to the NLRB, would INEVITABLY make the NLRB refer to precedent and almost assuredly demand the SAME argument of AFTRA that they did in 1951, of AFTRA’s precursor, the TVA – “will actors do anything fundamentally “different” in digital, than in film, or videotape, when it comes to “scripted programming for television?”

  And the answer would have to be “Nope.”

  End of story.

  BUT the claim was not filed for DECADES and there WAS “shared jurisdiction” at times, going back decades in the SAG/AFTRA history.

  Why?

  Because, as far as the NLRB is concernmed, unions can do – intra-union – WHATEVER they want. The ONLY time the NLRB will get involved, and even then, VERY reluctantly, and crankily, and sssslowly (it can take a year for a claimm to be resolved) is IF ONE OF THE UNIONS FILES A JURISDICTIONAL CLAIM.

  PERIOD.

  THAT was never done in past decades, because BOTH SAG and AFTRA DID flirt with the idea of merger in an on again/off-again way called “Phase 1 to merger,” where they experimented with some shared jurisdiction, some loosening of rules, in an attemot to SEE if merger actually would work and be a good idea (Phase 2).

  BUT NOW? This is a pure power-play to kill SAG, with the money and power of the SAG A-list “we got ours – fuck you rank and file, no work stoppages for the little people please,” to the NY and RBD regional branches of SAG (we want more money, power, and production – they’ll get none of that – merger or no merger) and “UFS,” “Unite For Strength!” – the Hollyowwd based group of knuckleheads , many TV actors among them, who created the final hedge in the electoral politics of the current scenario, making it possible for the so-called “moderates” (UFS, A-list, RBD, NY, AFTRA and the AMPTP) to take power over the so-called “progressives” (the former administration of SAG, and EVERY ADMINISTRATIONS VOTE OF “NO!” FOR MERGER – FOR THE LAST 60 YEARS – FOR VERY GOOD REASONS – THAT MAY VERY WELL KILL THIS ATTEMPT IN THE END AS WELL)

  The current knuckleheads running SAG, ran as fast as they could into the arms of possible merger by allowing the wholesale theft of SAG’S rightful jurisdiction of “ALL SCRIPTED PROGRAMMING FOR TELEVISION” to go to AFTRA – WITHOUT RAISING A WORD OF PROTEST FOR THREE YEARS NOW.

  Wow – huh?

  Why? Because, as they themselves (UFS) stated the plan – publicly – the plan is “to SO weaken SAG, it becomes helpless and HAS to merge with AFTRA.”

  And who is HELPING that process along?

  The A-list and their money, power, and influence (no labor problems or strikes for the little people, we’re busy making millions thank you very much), UFS (same, but more “no labor strife so we can keep TV rolling”) and the RBD and NY, (we’ll get MORE! No you won’t. Not a fucking cent, or more production or ANY more power), AND, the BIG Kahuna – the AMPTP (the producers themselves).

  Why?

  The creation of a merged, third union, the AMPTP helps along, behind the scenes, by doing things like giving ALL TV to AFTRA (jaw-dropping and UNPRECEDENTED) to so badly weaken SAG – HELPS along the creation of that third union that NEVER STRIKES, is run and created, in a MUCH more “AFTRA-centric” way (MUCH LESS DEMOCRATIC AND ALWAYS PRODUCER COMPLIANT) and soothes the nerves of suits over labor issues going into the 21st century.

  THAT’S the real story. Be nice if you covered it – AT ALL. Nikki USED to, but now, God knows the things she’s doing. Paying attention to the truth of labor issues is NOT one of them.

  Comment by Matt Mulhern — Thursday March 3, 2011 @ 8:11pm PST  Reply to this post

  • Re: Paying attention to the truth of labor issues is NOT one of them.

    So true!… Nikki’s stellar coverage of the writers strike is what really put this website on the map. But now… she’s seems to be MIA. Sad.

    Comment by Reality — Friday March 4, 2011 @ 1:20am PST  Reply to this post

  • TRUE – TRUE – TRUE. Matt just about covered it all. Everyone please note:

    “Method of capture” (film, video-tape, now, digital) is NOT the “determining factor.” That is a COMPLETE FABRICATION THAT HAS BECOME COMVENTIONAL WISDOM BY REPETITION IN THE ENETRTAiNMENT MEDIA

    Acting is a hobby now – not a viable way to make a living like it used to be for working actors – unless you’re a celebrity… and it happened so quickly. My SAG residuals have paid the rent some months… but the only decent residuals I ever got from AFTRA were for radio commercials!

    Comment by Former SAG Board Member — Saturday March 5, 2011 @ 10:30pm PST  Reply to this post

• Actually, because the contracts have been jointly negotiated for the almost 30 years, the AFTRA and SAG contracts in broadcast television are identical–except for one point: the AFTRA contract is 3% MORE EXPENSIVE because it was signed a year before the SAG contract. So it’s exactly the opposite of your point, Jer. The studios and networks are going with the AFTRA contract DESPITE the fact that it is more expensive.

  Half-hour pilot—$2 million

  One-hour pilot–$4.5 million

  Stability in your marketplace—PRICELESS

  At least that was the logic prior to the new SAG administration and the stability that came with them. Now, the large number of AFTRA pilots just underscores the fact that networks and studios have become acutely aware that they have a choice in performer’s unions…and that’s something performers are going to have to fix by eliminating the choice and creating one union.

  Comment by checkthefacts — Thursday March 3, 2011 @ 8:39pm PST  Reply to this post

  • checkthefacts said it perfectly. Networks and Studios have a choice, why wouldn’t they choose what’s in their best interest? until actors ELIMINATE the choice and only function from ONE union which is the ONLY real way to gain any leverage back, than they can sit back and watch their contracts get worse and worse!

    Comment by ourunionisajoke — Friday March 4, 2011 @ 9:16am PST  Reply to this post

• SAG gets owned again. I absolutely love it.

  Love actors. Hate their union.

  Comment by Burn baby burn — Thursday March 3, 2011 @ 9:16pm PST  Reply to this post

• Key word Pendalian being “slightly” but what AFTRA has done with cable TV co-star rates are criminal.

  Yes, AFTRA contracts, by virtue of being such giveaways to basic cable providers, has facilitated more shows being produced on networks like MTV, which were previously bastions of reality programming, but I can’t say their negotiations have always been in the best interests of actors, more like in the best interest of expanding their jurisdiction.

  Its a crime that there are incidence after incidence of AFTRA roles being net losses for their members – case in point – certain basic cable network’s AFTRA co-star scale deals are so low that the cost of gas for the 20 to 30 people brought in to audition comes out to more than the pay to the performer who lands the part!

  How is this protecting its members?

  Beyond that, AFTRA’s radio members (Rush Limbaugh, Sean Hannity, O’Reilly) are the very people leading the charge against unions in this country.

  Frankly, the two unions must merge so they can once again have true leverage in collective bargaining.

  We have begun to advise clients to remain SAG but go AFTRA Fi-Core because:

  1) We support the concept of unions but oppose AFTRA,
  2) Most young actors now are taft hartley’d into AFTRA prior to getting a prestige SAG role and rush to join AFTRA,
  3) No one cares if you’re AFTRA Fi-Core, they usually just say “Oh neat, you stayed SAG because you support unions but said screw you AFTRA, smart. Good for you.” They are a much maligned union.
  4) AFTRA has fewer benefits members miss out on anyways by going Fi-Core, (really, what do you lose out on? )
  5) We want to starve the beast. The slight reduction in total money to AFTRA hopefully forces the hands of AFTRA to merge with SAG.

  I personally don’t see why any dual card holders would remain full AFTRA members and not go AFTRA fi-core but remain in full standing with SAG – no use paying full union dues to two unions with competing jurisdictions and you still maintain the respect of everyone in the business who matter.

  Comment by Confidential Agency — Thursday March 3, 2011 @ 9:22pm PST  Reply to this post

• Some of your information is wrong. But thanks for listing pilot union coverage.

  It has nothing to do with digital and that’s a myth people like to keep alive. The original distinction was AFTRA covered shows, regardless of how the image was captured, in a live manner and SAG covered scripted material shot out of sequence. Decades ago deals were made to allow certain studios to be SAG and some to be AFTRA. Digital had/has nothing to do with it. Some of your posters have it right. AFTRA’s primetime contract is almost identical to SAG’s with few exceptions. And of course, AFTRA’s minimums are higher and will be until 2014. But the key is this: all of the networks own and provide original content for basic cable networks and have for many years. AFTRA for quite some time has been offering deals in basic cable that are cheaper than SAG’s. One example is the lack of residuals for most AFTRA basic cable shows for the first few seasons. All SAG basic cable shows pay residuals. Since ABC, NBC, FOX and CBS own basic cable networks, they are profiting a ton with all of their AFTRA basic cable shows because of the no residual payment policy. So, the real networks are thanking AFTRA for saving them so much money in the basic cable world by handing over almost all of the network and basic cable pilots. Even though AFTRA’s prime time contract may be more expensive than SAG’s, they make up the difference and then some, with the deal they make with AFTRA in basic cable shows. The money goes out of one pocket but into another pocket of the same pair of pants. And every working actor knows that AFTRA turns its head when there are claims to be filed. Producers get away with murder when it comes to contract violations. It’s an inside joke. And people think merger will fix this. Sure, it’ll fix it. Fix it to make the networks and studios happy and rich. With merger comes a weak, limp union. this new union will look more like AFTRA and very little like SAG. Say goodbye to residuals. When merger happens, all contracts will look like AFTRA contracts. That’s what the producers want. No residuals, no claims, no nothing. With all do respect to Nellie and your coverage, pilots going to AFTRA has nothing to do with digital. If that were the case, the majority of feature films that shoot red camera would be AFTRA. Same with a ton of commercials. It’s all about killing SAG and securing a no strike, no filing of claims atmosphere for the producers. Living wages be damned. And the current SAG leadership isn’t doing a damn thing about it. I may be wrong but isn’t the president of SAG starring in a FOX pilot, single camera, and it’s AFTRA? WOW

  Comment by union advocate — Thursday March 3, 2011 @ 10:55pm PST  Reply to this post

• Aftra is cheaper. And who wants to shoot on 35mm? More money. SAG is whacked.

  Comment by duh — Thursday March 3, 2011 @ 11:30pm PST  Reply to this post

• The sickest part of the AFTRA UFS-led-SAG collusion is that now that they have all the shows, AFTRA is in no rush to merge with the entity formerly known as SAG until they extort more initiation fees out of actors who are trying to bide their time until the two pseudo-unions merge into one big sideline for the corporations from which they are allegedly supposed to protect actors. Is there no U.S. Attorney who has the balls to investigate what has happened to the Screen Actors Guild?

  Comment by Simon — Thursday March 3, 2011 @ 11:35pm PST  Reply to this post

• Screw you “Burn baby Burn”. And than you to “Union Advocate” for breaking it down. SAG truly does protect its members. AFTRA is taking away everything people have fought for for years to earn. Residuals are the key!!! SAG pays actors their proper fee when things are re-run. Writers get great residuals, directors get great residuals. Their work would not exist if it were not for actors. The place where is most counts is health insurance. Residuals go towards your insurance. In the last few years even some good working actors can’t make the amount required to keep insurance and AFTRA insurance sucks!!! See how you feel if you can’t take your kid to the doctor of your choice because the studio screwed you out of earning the money that you worked your butt off for!!!

  Comment by Gemma — Friday March 4, 2011 @ 9:42am PST  Reply to this post

• My fellow dumb actors…………….we should have struck in 2001 but you were all gutless. Besides having a brainless, gutless SAG president at the time, my fellow actors didn’t see this digitized form attack coming.
  After being in the “biz” for 50 years, it really is true that actors have the brains of pebbles.
  Thank you my “fellow actors”!!!

  Comment by Cedarman — Tuesday March 8, 2011 @ 4:19am PST  Reply to this post

• SAG let it’s AFTRA brothers down a few years ago, refusing to support them during negotiations,but now, with the shift to fewer motion pictures being produced each year, broadcast is the last of the Mohicans, in an ever shrinking market. SAG has been so poorly managed over the last two decades, giving money to to many special interest and political groups, instead of planning for the future, that they are broke now, and the only hope they have to survive is to absorb the television base that AFTRA now has gained control of. Funny, the DGA retirement plan seems to be doing just fine, I wonder if that could be because it is managed by people who manage money for a living? Hmmmm?

  Comment by Joe Filmmaker — Monday January 30, 2012 @ 7:18am PST  Reply to this post