{"id":41,"date":"2023-04-04T14:30:21","date_gmt":"2023-04-04T18:30:21","guid":{"rendered":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/?post_type=chapter&p=41"},"modified":"2024-12-20T18:09:46","modified_gmt":"2024-12-20T23:09:46","slug":"case-study-11","status":"publish","type":"chapter","link":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/chapter\/case-study-11\/","title":{"raw":"Case Study #11: Striking Back: The WGA vs. Hollywood Studios","rendered":"Case Study #11: Striking Back: The WGA vs. Hollywood Studios"},"content":{"raw":"by Vivian Chong, 2024\r\n\r\nIn 2023, the Writers Guild of America (WGA) launched a strike against the Alliance of Motion Picture and Television Producers (AMPTP), demanding better compensation, residuals, and protections for writers (Phot, 2023). The strike, lasting from May 2nd to September 27th, was the second-longest Hollywood strike in history (Wilkinson & Stewart, 2023). During this period, WGA members stopped working on any new scripts for TV shows and movies (Wilkinson, 2023b).\r\n\r\nTwo major issues fueled the disputes: the rise of streaming and artificial intelligence (Wilkinson, 2023b). Despite the success of streaming shows, writers felt exploited. Although the new format brought new creative opportunities, it slashed writers\u2019 pay and worsened working conditions (Vox, 2023).\r\n\r\nShorter seasons, longer breaks between seasons, and dwindling residual cheques meant writers were struggling to make a liveable wage.\r\n\r\nOne particular issue was the change in writers\u2019 rooms, a place in which writers come together to discuss the plot of a show, known as \u201cbreaking story\u201d (Vox, 2023). The rise of the \u201cmini room\u201d format made work and creativity worse for writers, with leaner teams working for fewer weeks, cutting them out of the production process, and leaving them without income between seasons. Meanwhile, studios were benefiting from increased profits from new shows.\r\n\r\nOn top of this, the prevalence of AI threatened to replace writers entirely (Phot, 2023).\r\n\r\nUnderstandably, WGA members wanted fair compensation, job security, and restrictions on AI to be included in their new contract (Drescher & Crabtree-Ireland, 2023).\r\n

Key Players and Goals<\/h2>\r\nThe key players were the WGA, a labour union representing approximately 11,500 Hollywood writers for TV and movies, and the Alliance of Motion Picture and Television Producers (AMPTP), representing the major studios and production companies (Wilkinson, 2023b; Wilkinson, 2023c). After failing to reach an agreement during six weeks of negotiations, the WGA began its strike (Phot, 2023).\r\n\r\nThe goal was to force the AMPTP to negotiate a contract with basic protections for writers, with terms to last for three years (Wilkinson, 2023b). The major studios resisted these changes presented by the WGA that would impact their bottom line. The strike slowed Hollywood production significantly, in some cases to a complete halt, and affected many other workers in the entertainment industry (Wilkinson, 2023b).\r\n

Key Audiences and Message<\/h2>\r\nThe WGA had two key audiences: first, American subscribers to streaming services and, second, the media as a conduit to subscribers and other secondary audiences. From the outset and throughout the strike, the WGA needed to gain widespread support and sympathy from subscribers. If subscribers believed the WGA\u2019s demands were reasonable and justified, they would be in a much stronger bargaining and public relations position (MKC Communications, 2023). To achieve this, the WGA highlighted the human aspect of the strike, sharing personal accounts from struggling writers to make the issues relatable to non-Hollywood audiences (\u201cWhy We Strike,\u201d 2023).\r\n\r\nThe media was instrumental in amplifying these stories. As writers, the WGA knew the ingredients for a newsworthy story, framing the strike as a fight for the future of the entertainment industry, not just a salary dispute of entitled workers (MKC Communications, 2023). This was about protecting the integrity of the creative process, the foundation of Hollywood.\r\n\r\nLoving the story\u2014and perhaps feeling a sense of solidarity with workers in a similar field\u2014the media covered these issues in detail, shaping a narrative that this was about protecting the creative process and lifting voices from different backgrounds. In a Vox<\/em> video covering the strike, screenwriter Julia Yorks emphasized, \u201cI think that we want to make sure that art isn\u2019t coming from only voices who can afford to do this as a job\u201d (Vox, 2023).\r\n

Key Actions Taken<\/h1>\r\n

Messaging<\/h5>\r\nThe WGA members portrayed themselves as underdogs, fighting against greedy corporations, by explaining the consequences of streaming and AI for writers. They used interviews, videos, and articles to inform subscribers about how writers earn income and to persuade them that their demands were necessary and, more critically, that the broader creativity issues mattered. By consistently appearing in the media, the WGA had more control over the message reaching its audience.\r\n
Social Media Use<\/h5>\r\nUsing social media, writers shared emotional stories and viral moments from the picket lines.\u00a0Writers posted photos of witty signs, while others shared images of their residual cheques for major shows that amounted to just a few cents. Celebrities also showed support. Photos of reunions between The Office<\/em> and Parks and Recreation<\/em> cast members at the picket lines and appearances by Tina Fey, Seth Meyers, and others gave visibility to the strike (Saperstein, 2023).\r\n
Addressing Misinformation<\/h5>\r\nThroughout the negotiations, the WGA maintained clear communication with members to dispel rumours and misinformation. In contrast, the AMPTP struggled with mixed messaging, firing and then rehiring a crisis PR firm (Baum, 2023). Additionally, reports circulated that some studios were considering breaking off from the AMPTP to negotiate individual agreements with the WGA (Kilkenny, 2023).\r\n\r\nOn August 11th, 102 days into the strike, the AMPTP presented its first counteroffer to the WGA (WGA Negotiating Committee, 2023a). In response, the WGA made its own counter proposal on August 15th. Then, on August 22nd, top studio executives met with the WGA Negotiating Committee to push for acceptance of their previous August 11th proposal (James & Lee, 2023; WGA Negotiating Committee, 2023a).\r\n\r\nHowever, after failing to reach an agreement, the AMPTP surprised the Guild by breaching the media blackout agreed to by both parties; the AMPTP publicly released their earlier counteroffer\u2014a move seen by the WGA as a manipulative tactic to bypass its negotiators (Goldberg, 2023; WGA Negotiating Committee, 2023b). In response to the confusion, the WGA clarified in a letter to members that, since the strike began, the AMPTP had only made one proposal on August 11th, which remained unchanged despite the WGA\u2019s counterproposal on August 15th (Kilkenny, 2023; WGA Negotiating Committee, 2023b).\r\n\r\nThe committee further condemned the studios\u2019 motives (James & Lee, 2023; WGA Negotiating Committee, 2023a). \u201cThis was a meeting to get us to cave,\u201d the committee stated. \u201cThis was the companies\u2019 plan from the beginning\u2014not to bargain, but to jam us. It is their only strategy\u2014to bet that we will turn on each other\u201d (WGA Negotiating Committee, 2023a).\r\n\r\nThe studios\u2019 move also drew criticism from both WGA members and media outlets. Members called out \u201cloopholes\u201d in the proposal and accused the AMPTP of \u201cgoing around the backs of our negotiators\u201d (Goldberg, 2023). Media outlets such as The Hollywood Reporter<\/em> and Rolling Stone<\/em> observed that this appeared to be a tactic aimed to divide writers, pressure WGA leaders, and publicly signal the AMPTP\u2019s attempt to address the writers\u2019 demands (Baum, 2023; James & Lee, 2023; Low, 2023; Richardson, 2023).\r\n
Building Solidarity<\/h5>\r\nThe WGA also benefited from support from actors, directors, and other entertainment unions to put more pressure on the studios. When the Screen Actors Guild and the American Federation of Television and Radio Artists (SAG-AFTRA) joined the strike in July over their own contract disputes, it sent a strong message to the AMPTP (Phot, 2023; Wilkinson, 2023a).\r\n

Outcome<\/h2>\r\nThe WGA demonstrated several public relations successes during the strike. Its ability to control the narrative was one of its biggest wins. The Guild successfully painted the studios as corporate villains, reinforcing its position as writers fighting for justice.\r\n\r\nA viral CNN clip of writer and comedian Adam Conover pointed out the $250 million salary of Warner Bros. executive David Zaslav, contrasting it with the writers\u2019 demand for fair wages (Davis, 2023). Conover condemned the studios for using economic reasons as a weak excuse, explaining that this single salary was almost equal to \u201cwhat 10,000 writers are asking him to pay all of us collectively\u201d (Davis, 2023).\r\n\r\nNegative media attention toward the AMPTP\u2019s tactics, including an alleged report by Deadline<\/em> that the AMPTP wanted writers to \u201cbleed out\u201d and \u201cstart losing their apartments\u201d before they would resume negotiations, pushed public opinion even further in the WGA\u2019s favour (Murphy, 2023). Whether or not this report was true, the writers had prevailed in their narrative against the studios. A Horizon Media survey in August found that nearly three-quarters of respondents were following the strike, with significantly more support for writers and actors than for studios, networks, and streaming services (Horizon Media, 2023).\r\n\r\nCelebrity influence also helped promote the cause. While many celebrities supported the strike, those who didn\u2019t, such as Drew Barrymore, faced significant backlash, highlighting the strength of solidarity (Wilkinson, 2023c).\r\n\r\nOn the other hand, the AMPTP\u2019s refusal to provide counteroffers on key issues, though it did drag out the strike, ultimately cost them as public opinion against them worsened (Phot, 2023).\r\n\r\nAdditionally, the AMPTP\u2019s media leak of its counteroffer further damaged the studios\u2019 reputation. If the intention was to show the public that the studios were willing to negotiate, this tactic backfired, as it was widely seen as disingenuous (James & Lee, 2023; Low, 2023).\r\n

Learning for Public Relations Practitioners<\/h2>\r\nThe WGA strike provided several valuable lessons for PR practitioners.\r\n

Controlling the Narrative Through Media<\/h5>\r\nThe WGA demonstrated the power of using the media to control the narrative. By framing its demands in ways that highlighted fairness and the broader impact beyond just writers, the WGA made the cause hard to ignore and kept the strike in the headlines. This shows how carefully crafting and deploying a message can help shape audience perceptions and present an organization in a favourable light.\r\n
Make the Issue Relatable to Audiences<\/h5>\r\nHumanizing the issue through emotional storytelling is another key lesson for PR campaigns that rely on public empathy for support. Personal stories from writers struggling with dwindling residuals and mini rooms allowed audiences to connect deeply with the cause. This support helped put indirect pressure on the studios by creating a larger movement. The studios, on the other hand, showed a severe lack of understanding of their audience. As CEO salaries were scrutinized in the media, Disney CEO Bob Iger\u2019s dismissal of the writers and actors\u2019 demands as \u201cnot realistic\u201d came across as tone-deaf and highlighted their disconnect with the public (Hibberd, 2023).\r\n
Leveraging Celebrity Influence<\/h5>\r\nCelebrities played a significant role in amplifying the WGA\u2019s message. Public figures, such as Adam Conover, who used his platform to critique the studio executives, brought media attention to the Guild\u2019s message and rallied public support. Cast reunions on the picket lines drew attention to the strike and boosted morale. The support of celebrities and SAG-AFTRA reinforced the lesson that leveraging influencers can expand a campaign\u2019s reach.\r\n
Transparent Internal Communication<\/h5>\r\nAnother key takeaway from the WGA\u2019s approach was the importance of internal transparency.\r\n\r\nRegular updates to members ensured unified messaging, prevented misinformation, and allowed the union to respond promptly to any concerns or confusion. Consistent internal communication strengthens solidarity, keeping the collective aligned and focused on the overall goal.\r\n

Conclusion<\/h2>\r\nWhile both sides agreed to the final contract, the WGA undeniably won the PR battle (Baum & Kilkenny, 2023). Although the strike has ended, it set a precedent for future labour disputes, especially in creative industries. As AI technologies continue to develop and income inequalities persist, these issues will likely resurface. PR professionals must know how to craft a compelling narrative and maintain transparent communication with target audiences and the media.\r\n

References<\/h1>\r\n

Baum, G. (2023, August 25). AMPTP hires new crisis PR firm as strikes go on. The Hollywood Reporter<\/em>. https:\/\/www.hollywoodreporter.com\/business\/business-news\/amptphires-new-crisis-messaging-firm-1235575124\/<\/a><\/p>\r\n

Baum, G. & Kilkenny, K. (2023, June 26). Writers strike messaging war reshapes standoff with studios. The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/business\/business-news\/writers-strike-messagingstudios-1235523786\/<\/a><\/p>\r\n

Davis, C. (2023, May 2). Adam Conover calls out David Zaslav\u2019s $250 million salary on air at CNN: \u2018The same level as 10,000 writers.\u2019 Variety. <\/em>https:\/\/variety.com\/2023\/tv\/news\/adam-conover-david-zaslav-cnn-interview-1235601743\/<\/a><\/p>\r\n

Drescher, F. & Crabtree-Ireland, D. (2023). TV\/theatrical strike authorization 2023: Referendum booklet. https:\/\/www.sagaftra.org\/files\/sa_documents\/TVtheatrics23_refbklt_digital_F.pdf<\/a><\/p>\r\n

Goldberg, L. (2023, August 23). \u201cReleasing the counteroffer was an unforced error\u201d: Writers weigh in on latest studio proposal. The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/tv\/tv-news\/amptp-proposal-wga-reply-counterofferdetails-1235573407\/<\/a><\/p>\r\n

Hibberd, J. (2023, July 19). Fran Drescher on Bob Iger: He says \u201cWe\u2019re unrealistic when he\u2019s making $78,000 a day.\u201d The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/business\/business-news\/bernie-sanders-frandrescher-actors-strike-sag-1235538911\/<\/a><\/p>\r\n

Horizon Media. (2023, August 2). New research by Horizon Media reveals public is prepared to strike alongside writers and actors and are intentionally shifting viewing habits. PR Newswire<\/em>. https:\/\/www.prnewswire.com\/news-releases\/new-research-by-horizon-mediareveals-public-is-prepared-to-strike-alongside-writers-and-actors-and-are-intentionallyshifting-viewing-habits-301891846.html<\/a><\/p>\r\n

James, M. & Lee, W. (2023, August 23). The studios went public with their WGA offer. Was it a mistake?. Los Angeles Times. <\/em>https:\/\/www.latimes.com\/entertainment-arts\/business\/story\/2023-08-23\/writers-strike-studios-wga-talks-amptp-actors-strike#:~:text=But%20after%20WGA%20leaders%20refused,throughout%20the%20summer%20of%20strikes<\/a><\/p>\r\n

Kilkenny, K. (2023, September 8). Writers guild suggests studios should split from streamers in latest update on AMPTP standoff. The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/business\/business-news\/writers-strike-update-unionstudios-break-off-amptp-1235585993\/<\/a><\/p>\r\n

Low, E. (2023, August 23). The great backfiring: Did this move just add weeks to the strike? Series Business (fka Strikegeist). <\/em>https:\/\/strikegeist.substack.com\/p\/the-great-backfiring-did-this-move<\/a><\/p>\r\n

MKC Communications. (2023, May 24). The writers strike: A public relations challenge for the entertainment industry. MKC Communications<\/em>. https:\/\/www.mkc.ie\/latest\/the-writersstrike-a-public-relations-challenge-for-the-entertainment-industry<\/a><\/p>\r\n

Murphy, C. (2023, July 12). Studios allegedly won\u2019t end strike till writers \u201cStart losing their apartments.\u201d Vanity Fair.<\/em> https:\/\/www.vanityfair.com\/hollywood\/2023\/07\/studios-allegedlywont-end-strike-til-writers-start-losing-their-apartments<\/a><\/p>\r\n

Phot, K. (2023, October 9). A timeline of events related to the Hollywood strikes. The Medium<\/em>. https:\/\/themedium.ca\/a-timeline-of-events-related-to-the-hollywood-strikes\/<\/a><\/p>\r\n

Richardson, K. (2023, August 25). Writers fire back at studios\u2019 flawed counteroffer: \u201cPay your workers.\u201d Rolling Stone.<\/em> https:\/\/www.rollingstone.com\/tv-movies\/tv-movie-features\/writers-strike-studios-counteroffer-ai-streaming-numbers-minimum-staffing-1234812234\/<\/a><\/p>\r\n

Saperstein, P. (2023, May 16). Writers strike 2023: The celebrities who have picketed with WGA. Variety<\/em>. https:\/\/variety.com\/lists\/writers-strike-2023-celebrities-picketing-wga\/tinafey-2\/<\/a><\/p>\r\n

Vox. (2023, June 7). How streaming caused the TV writers strike [Video]. YouTube. <\/em>https:\/\/www.youtube.com\/watch?v=ILaU78Oo7XM&list=WL&index=13<\/a><\/p>\r\n

WGA Negotiating Committee. (2023a, August 22). Negotiations update - 8-22-23. WGA contract 2023. https:\/\/www.wgacontract2023.org\/announcements\/negotiations-update-8-22-23<\/a><\/p>\r\n

WGA Negotiating Committee. (2023b, September 8). Negotiations update - 9-8-23. WGA contract 2023. https:\/\/www.wgacontract2023.org\/announcements\/negotiations-update-9-8-23<\/a><\/p>\r\n

Wilkinson, A. (2023a, July 13). Hollywood\u2019s historic double strike, explained. Vox<\/em>. https:\/\/www.vox.com\/culture\/2023\/7\/13\/23793828\/sag-aftra-strike-wga-hollywood<\/a><\/p>\r\n

Wilkinson, A. (2023b, July 13). Hollywood\u2019s writers are on strike. Here\u2019s why that matters. Vox<\/em>. https:\/\/www.vox.com\/culture\/23696617\/writers-strike-wga-2023-explained-residualsstreaming-ai<\/a><\/p>\r\n

Wilkinson, A. (2023c, September 18). What\u2019s the state of the Hollywood strikes? Vox<\/em>. https:\/\/www.vox.com\/culture\/2023\/9\/18\/23878883\/sag-wga-strike-maher-barrymore-amptp<\/a><\/p>\r\n

Wilkinson, A. & Stewart, E. (2023, September 28). The Hollywood writers\u2019 strike is over \u2014 and they won big. Vox<\/em>. https:\/\/www.vox.com\/culture\/2023\/9\/24\/23888673\/wga-strike-end-sagaftra-contract<\/a><\/p>\r\n

Writers Guild of America. (2023, June 15). Why we strike. WGA contract 2023. https:\/\/www.wgacontract2023.org\/member-voices\/why-we-strike<\/a><\/p>","rendered":"

by Vivian Chong, 2024<\/p>\n

In 2023, the Writers Guild of America (WGA) launched a strike against the Alliance of Motion Picture and Television Producers (AMPTP), demanding better compensation, residuals, and protections for writers (Phot, 2023). The strike, lasting from May 2nd to September 27th, was the second-longest Hollywood strike in history (Wilkinson & Stewart, 2023). During this period, WGA members stopped working on any new scripts for TV shows and movies (Wilkinson, 2023b).<\/p>\n

Two major issues fueled the disputes: the rise of streaming and artificial intelligence (Wilkinson, 2023b). Despite the success of streaming shows, writers felt exploited. Although the new format brought new creative opportunities, it slashed writers\u2019 pay and worsened working conditions (Vox, 2023).<\/p>\n

Shorter seasons, longer breaks between seasons, and dwindling residual cheques meant writers were struggling to make a liveable wage.<\/p>\n

One particular issue was the change in writers\u2019 rooms, a place in which writers come together to discuss the plot of a show, known as \u201cbreaking story\u201d (Vox, 2023). The rise of the \u201cmini room\u201d format made work and creativity worse for writers, with leaner teams working for fewer weeks, cutting them out of the production process, and leaving them without income between seasons. Meanwhile, studios were benefiting from increased profits from new shows.<\/p>\n

On top of this, the prevalence of AI threatened to replace writers entirely (Phot, 2023).<\/p>\n

Understandably, WGA members wanted fair compensation, job security, and restrictions on AI to be included in their new contract (Drescher & Crabtree-Ireland, 2023).<\/p>\n

Key Players and Goals<\/h2>\n

The key players were the WGA, a labour union representing approximately 11,500 Hollywood writers for TV and movies, and the Alliance of Motion Picture and Television Producers (AMPTP), representing the major studios and production companies (Wilkinson, 2023b; Wilkinson, 2023c). After failing to reach an agreement during six weeks of negotiations, the WGA began its strike (Phot, 2023).<\/p>\n

The goal was to force the AMPTP to negotiate a contract with basic protections for writers, with terms to last for three years (Wilkinson, 2023b). The major studios resisted these changes presented by the WGA that would impact their bottom line. The strike slowed Hollywood production significantly, in some cases to a complete halt, and affected many other workers in the entertainment industry (Wilkinson, 2023b).<\/p>\n

Key Audiences and Message<\/h2>\n

The WGA had two key audiences: first, American subscribers to streaming services and, second, the media as a conduit to subscribers and other secondary audiences. From the outset and throughout the strike, the WGA needed to gain widespread support and sympathy from subscribers. If subscribers believed the WGA\u2019s demands were reasonable and justified, they would be in a much stronger bargaining and public relations position (MKC Communications, 2023). To achieve this, the WGA highlighted the human aspect of the strike, sharing personal accounts from struggling writers to make the issues relatable to non-Hollywood audiences (\u201cWhy We Strike,\u201d 2023).<\/p>\n

The media was instrumental in amplifying these stories. As writers, the WGA knew the ingredients for a newsworthy story, framing the strike as a fight for the future of the entertainment industry, not just a salary dispute of entitled workers (MKC Communications, 2023). This was about protecting the integrity of the creative process, the foundation of Hollywood.<\/p>\n

Loving the story\u2014and perhaps feeling a sense of solidarity with workers in a similar field\u2014the media covered these issues in detail, shaping a narrative that this was about protecting the creative process and lifting voices from different backgrounds. In a Vox<\/em> video covering the strike, screenwriter Julia Yorks emphasized, \u201cI think that we want to make sure that art isn\u2019t coming from only voices who can afford to do this as a job\u201d (Vox, 2023).<\/p>\n

Key Actions Taken<\/h1>\n
Messaging<\/h5>\n

The WGA members portrayed themselves as underdogs, fighting against greedy corporations, by explaining the consequences of streaming and AI for writers. They used interviews, videos, and articles to inform subscribers about how writers earn income and to persuade them that their demands were necessary and, more critically, that the broader creativity issues mattered. By consistently appearing in the media, the WGA had more control over the message reaching its audience.<\/p>\n

Social Media Use<\/h5>\n

Using social media, writers shared emotional stories and viral moments from the picket lines.\u00a0Writers posted photos of witty signs, while others shared images of their residual cheques for major shows that amounted to just a few cents. Celebrities also showed support. Photos of reunions between The Office<\/em> and Parks and Recreation<\/em> cast members at the picket lines and appearances by Tina Fey, Seth Meyers, and others gave visibility to the strike (Saperstein, 2023).<\/p>\n

Addressing Misinformation<\/h5>\n

Throughout the negotiations, the WGA maintained clear communication with members to dispel rumours and misinformation. In contrast, the AMPTP struggled with mixed messaging, firing and then rehiring a crisis PR firm (Baum, 2023). Additionally, reports circulated that some studios were considering breaking off from the AMPTP to negotiate individual agreements with the WGA (Kilkenny, 2023).<\/p>\n

On August 11th, 102 days into the strike, the AMPTP presented its first counteroffer to the WGA (WGA Negotiating Committee, 2023a). In response, the WGA made its own counter proposal on August 15th. Then, on August 22nd, top studio executives met with the WGA Negotiating Committee to push for acceptance of their previous August 11th proposal (James & Lee, 2023; WGA Negotiating Committee, 2023a).<\/p>\n

However, after failing to reach an agreement, the AMPTP surprised the Guild by breaching the media blackout agreed to by both parties; the AMPTP publicly released their earlier counteroffer\u2014a move seen by the WGA as a manipulative tactic to bypass its negotiators (Goldberg, 2023; WGA Negotiating Committee, 2023b). In response to the confusion, the WGA clarified in a letter to members that, since the strike began, the AMPTP had only made one proposal on August 11th, which remained unchanged despite the WGA\u2019s counterproposal on August 15th (Kilkenny, 2023; WGA Negotiating Committee, 2023b).<\/p>\n

The committee further condemned the studios\u2019 motives (James & Lee, 2023; WGA Negotiating Committee, 2023a). \u201cThis was a meeting to get us to cave,\u201d the committee stated. \u201cThis was the companies\u2019 plan from the beginning\u2014not to bargain, but to jam us. It is their only strategy\u2014to bet that we will turn on each other\u201d (WGA Negotiating Committee, 2023a).<\/p>\n

The studios\u2019 move also drew criticism from both WGA members and media outlets. Members called out \u201cloopholes\u201d in the proposal and accused the AMPTP of \u201cgoing around the backs of our negotiators\u201d (Goldberg, 2023). Media outlets such as The Hollywood Reporter<\/em> and Rolling Stone<\/em> observed that this appeared to be a tactic aimed to divide writers, pressure WGA leaders, and publicly signal the AMPTP\u2019s attempt to address the writers\u2019 demands (Baum, 2023; James & Lee, 2023; Low, 2023; Richardson, 2023).<\/p>\n

Building Solidarity<\/h5>\n

The WGA also benefited from support from actors, directors, and other entertainment unions to put more pressure on the studios. When the Screen Actors Guild and the American Federation of Television and Radio Artists (SAG-AFTRA) joined the strike in July over their own contract disputes, it sent a strong message to the AMPTP (Phot, 2023; Wilkinson, 2023a).<\/p>\n

Outcome<\/h2>\n

The WGA demonstrated several public relations successes during the strike. Its ability to control the narrative was one of its biggest wins. The Guild successfully painted the studios as corporate villains, reinforcing its position as writers fighting for justice.<\/p>\n

A viral CNN clip of writer and comedian Adam Conover pointed out the $250 million salary of Warner Bros. executive David Zaslav, contrasting it with the writers\u2019 demand for fair wages (Davis, 2023). Conover condemned the studios for using economic reasons as a weak excuse, explaining that this single salary was almost equal to \u201cwhat 10,000 writers are asking him to pay all of us collectively\u201d (Davis, 2023).<\/p>\n

Negative media attention toward the AMPTP\u2019s tactics, including an alleged report by Deadline<\/em> that the AMPTP wanted writers to \u201cbleed out\u201d and \u201cstart losing their apartments\u201d before they would resume negotiations, pushed public opinion even further in the WGA\u2019s favour (Murphy, 2023). Whether or not this report was true, the writers had prevailed in their narrative against the studios. A Horizon Media survey in August found that nearly three-quarters of respondents were following the strike, with significantly more support for writers and actors than for studios, networks, and streaming services (Horizon Media, 2023).<\/p>\n

Celebrity influence also helped promote the cause. While many celebrities supported the strike, those who didn\u2019t, such as Drew Barrymore, faced significant backlash, highlighting the strength of solidarity (Wilkinson, 2023c).<\/p>\n

On the other hand, the AMPTP\u2019s refusal to provide counteroffers on key issues, though it did drag out the strike, ultimately cost them as public opinion against them worsened (Phot, 2023).<\/p>\n

Additionally, the AMPTP\u2019s media leak of its counteroffer further damaged the studios\u2019 reputation. If the intention was to show the public that the studios were willing to negotiate, this tactic backfired, as it was widely seen as disingenuous (James & Lee, 2023; Low, 2023).<\/p>\n

Learning for Public Relations Practitioners<\/h2>\n

The WGA strike provided several valuable lessons for PR practitioners.<\/p>\n

Controlling the Narrative Through Media<\/h5>\n

The WGA demonstrated the power of using the media to control the narrative. By framing its demands in ways that highlighted fairness and the broader impact beyond just writers, the WGA made the cause hard to ignore and kept the strike in the headlines. This shows how carefully crafting and deploying a message can help shape audience perceptions and present an organization in a favourable light.<\/p>\n

Make the Issue Relatable to Audiences<\/h5>\n

Humanizing the issue through emotional storytelling is another key lesson for PR campaigns that rely on public empathy for support. Personal stories from writers struggling with dwindling residuals and mini rooms allowed audiences to connect deeply with the cause. This support helped put indirect pressure on the studios by creating a larger movement. The studios, on the other hand, showed a severe lack of understanding of their audience. As CEO salaries were scrutinized in the media, Disney CEO Bob Iger\u2019s dismissal of the writers and actors\u2019 demands as \u201cnot realistic\u201d came across as tone-deaf and highlighted their disconnect with the public (Hibberd, 2023).<\/p>\n

Leveraging Celebrity Influence<\/h5>\n

Celebrities played a significant role in amplifying the WGA\u2019s message. Public figures, such as Adam Conover, who used his platform to critique the studio executives, brought media attention to the Guild\u2019s message and rallied public support. Cast reunions on the picket lines drew attention to the strike and boosted morale. The support of celebrities and SAG-AFTRA reinforced the lesson that leveraging influencers can expand a campaign\u2019s reach.<\/p>\n

Transparent Internal Communication<\/h5>\n

Another key takeaway from the WGA\u2019s approach was the importance of internal transparency.<\/p>\n

Regular updates to members ensured unified messaging, prevented misinformation, and allowed the union to respond promptly to any concerns or confusion. Consistent internal communication strengthens solidarity, keeping the collective aligned and focused on the overall goal.<\/p>\n

Conclusion<\/h2>\n

While both sides agreed to the final contract, the WGA undeniably won the PR battle (Baum & Kilkenny, 2023). Although the strike has ended, it set a precedent for future labour disputes, especially in creative industries. As AI technologies continue to develop and income inequalities persist, these issues will likely resurface. PR professionals must know how to craft a compelling narrative and maintain transparent communication with target audiences and the media.<\/p>\n

References<\/h1>\n

Baum, G. (2023, August 25). AMPTP hires new crisis PR firm as strikes go on. The Hollywood Reporter<\/em>. https:\/\/www.hollywoodreporter.com\/business\/business-news\/amptphires-new-crisis-messaging-firm-1235575124\/<\/a><\/p>\n

Baum, G. & Kilkenny, K. (2023, June 26). Writers strike messaging war reshapes standoff with studios. The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/business\/business-news\/writers-strike-messagingstudios-1235523786\/<\/a><\/p>\n

Davis, C. (2023, May 2). Adam Conover calls out David Zaslav\u2019s $250 million salary on air at CNN: \u2018The same level as 10,000 writers.\u2019 Variety. <\/em>https:\/\/variety.com\/2023\/tv\/news\/adam-conover-david-zaslav-cnn-interview-1235601743\/<\/a><\/p>\n

Drescher, F. & Crabtree-Ireland, D. (2023). TV\/theatrical strike authorization 2023: Referendum booklet. https:\/\/www.sagaftra.org\/files\/sa_documents\/TVtheatrics23_refbklt_digital_F.pdf<\/a><\/p>\n

Goldberg, L. (2023, August 23). \u201cReleasing the counteroffer was an unforced error\u201d: Writers weigh in on latest studio proposal. The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/tv\/tv-news\/amptp-proposal-wga-reply-counterofferdetails-1235573407\/<\/a><\/p>\n

Hibberd, J. (2023, July 19). Fran Drescher on Bob Iger: He says \u201cWe\u2019re unrealistic when he\u2019s making $78,000 a day.\u201d The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/business\/business-news\/bernie-sanders-frandrescher-actors-strike-sag-1235538911\/<\/a><\/p>\n

Horizon Media. (2023, August 2). New research by Horizon Media reveals public is prepared to strike alongside writers and actors and are intentionally shifting viewing habits. PR Newswire<\/em>. https:\/\/www.prnewswire.com\/news-releases\/new-research-by-horizon-mediareveals-public-is-prepared-to-strike-alongside-writers-and-actors-and-are-intentionallyshifting-viewing-habits-301891846.html<\/a><\/p>\n

James, M. & Lee, W. (2023, August 23). The studios went public with their WGA offer. Was it a mistake?. Los Angeles Times. <\/em>https:\/\/www.latimes.com\/entertainment-arts\/business\/story\/2023-08-23\/writers-strike-studios-wga-talks-amptp-actors-strike#:~:text=But%20after%20WGA%20leaders%20refused,throughout%20the%20summer%20of%20strikes<\/a><\/p>\n

Kilkenny, K. (2023, September 8). Writers guild suggests studios should split from streamers in latest update on AMPTP standoff. The Hollywood Reporter. <\/em>https:\/\/www.hollywoodreporter.com\/business\/business-news\/writers-strike-update-unionstudios-break-off-amptp-1235585993\/<\/a><\/p>\n

Low, E. (2023, August 23). The great backfiring: Did this move just add weeks to the strike? Series Business (fka Strikegeist). <\/em>https:\/\/strikegeist.substack.com\/p\/the-great-backfiring-did-this-move<\/a><\/p>\n

MKC Communications. (2023, May 24). The writers strike: A public relations challenge for the entertainment industry. MKC Communications<\/em>. https:\/\/www.mkc.ie\/latest\/the-writersstrike-a-public-relations-challenge-for-the-entertainment-industry<\/a><\/p>\n

Murphy, C. (2023, July 12). Studios allegedly won\u2019t end strike till writers \u201cStart losing their apartments.\u201d Vanity Fair.<\/em> https:\/\/www.vanityfair.com\/hollywood\/2023\/07\/studios-allegedlywont-end-strike-til-writers-start-losing-their-apartments<\/a><\/p>\n

Phot, K. (2023, October 9). A timeline of events related to the Hollywood strikes. The Medium<\/em>. https:\/\/themedium.ca\/a-timeline-of-events-related-to-the-hollywood-strikes\/<\/a><\/p>\n

Richardson, K. (2023, August 25). Writers fire back at studios\u2019 flawed counteroffer: \u201cPay your workers.\u201d Rolling Stone.<\/em> https:\/\/www.rollingstone.com\/tv-movies\/tv-movie-features\/writers-strike-studios-counteroffer-ai-streaming-numbers-minimum-staffing-1234812234\/<\/a><\/p>\n

Saperstein, P. (2023, May 16). Writers strike 2023: The celebrities who have picketed with WGA. Variety<\/em>. https:\/\/variety.com\/lists\/writers-strike-2023-celebrities-picketing-wga\/tinafey-2\/<\/a><\/p>\n

Vox. (2023, June 7). How streaming caused the TV writers strike [Video]. YouTube. <\/em>https:\/\/www.youtube.com\/watch?v=ILaU78Oo7XM&list=WL&index=13<\/a><\/p>\n

WGA Negotiating Committee. (2023a, August 22). Negotiations update – 8-22-23. WGA contract 2023. https:\/\/www.wgacontract2023.org\/announcements\/negotiations-update-8-22-23<\/a><\/p>\n

WGA Negotiating Committee. (2023b, September 8). Negotiations update – 9-8-23. WGA contract 2023. https:\/\/www.wgacontract2023.org\/announcements\/negotiations-update-9-8-23<\/a><\/p>\n

Wilkinson, A. (2023a, July 13). Hollywood\u2019s historic double strike, explained. Vox<\/em>. https:\/\/www.vox.com\/culture\/2023\/7\/13\/23793828\/sag-aftra-strike-wga-hollywood<\/a><\/p>\n

Wilkinson, A. (2023b, July 13). Hollywood\u2019s writers are on strike. Here\u2019s why that matters. Vox<\/em>. https:\/\/www.vox.com\/culture\/23696617\/writers-strike-wga-2023-explained-residualsstreaming-ai<\/a><\/p>\n

Wilkinson, A. (2023c, September 18). What\u2019s the state of the Hollywood strikes? Vox<\/em>. https:\/\/www.vox.com\/culture\/2023\/9\/18\/23878883\/sag-wga-strike-maher-barrymore-amptp<\/a><\/p>\n

Wilkinson, A. & Stewart, E. (2023, September 28). The Hollywood writers\u2019 strike is over \u2014 and they won big. Vox<\/em>. https:\/\/www.vox.com\/culture\/2023\/9\/24\/23888673\/wga-strike-end-sagaftra-contract<\/a><\/p>\n

Writers Guild of America. (2023, June 15). Why we strike. WGA contract 2023. https:\/\/www.wgacontract2023.org\/member-voices\/why-we-strike<\/a><\/p>\n","protected":false},"author":1660,"menu_order":11,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":"cc-by-nc-nd"},"chapter-type":[],"contributor":[],"license":[58],"class_list":["post-41","chapter","type-chapter","status-publish","hentry","license-cc-by-nc-nd"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/pressbooks\/v2\/chapters\/41","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/wp\/v2\/users\/1660"}],"version-history":[{"count":5,"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/pressbooks\/v2\/chapters\/41\/revisions"}],"predecessor-version":[{"id":150,"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/pressbooks\/v2\/chapters\/41\/revisions\/150"}],"part":[{"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/pressbooks\/v2\/chapters\/41\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/wp\/v2\/media?parent=41"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/pressbooks\/v2\/chapter-type?post=41"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/wp\/v2\/contributor?post=41"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/prcasestudies\/wp-json\/wp\/v2\/license?post=41"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}