Talks between IATSE and the non-profit theater broke down on Sunday, prompting crew members to go on strike ahead of the 2 p.m. ET matinee performance. The strike followed several months of negotiations after the Atlantic crew unanimously voted to unionize with IATSE in February 2024.

The union, which represents 170,000 technicians, artisans and craftspersons in the entertainment industry, including live events, motion picture and television production, broadcast and trade shows, said it filed an unfair labor practice charge against Atlantic as the theater’s management has “consistently stalled progress and made unilateral demands on working conditions.”

“Atlantic Theater’s refusal to bargain fairly has left the crew no choice but to strike,” IATSE international president Matthew D. Loeb said in a statement. “These workers deserve the same dignity, respect and protections as everyone else in New York’s entertainment community — whether they work in front of or behind the curtain, on or Off Broadway. Shame on them for not providing healthcare coverage to all their employees. We are prepared to resume negotiations as soon as Atlantic Theater is ready to bargain in good faith.”

In a statement, the Atlantic said it offered IATSE a nearly 20% increase in wages and other benefits as well as two interim agreements over the past two months that included 13% increases in wages and health, effective immediately, in return for a no strike agreement, but that those offers were ignored.

“We believe equity on our stage is crucial and our offer aligns with our contract with Actors’ Equity Association,” the statement noted. “IATSE believes this is unacceptable and wants more. In addition, the union is attempting to expand its work jurisdiction beyond the theatrical productions.”

The Actors’ Equity Association, which represents over 51,000 professional actors, stage managers and others working in live entertainment, issued a statement of solidarity.

“We have full faith that IATSE is negotiating terms that are fair and appropriate for their members, and we look forward to the shows resuming when an agreement has been reached,” AEA assistant executive director Calandra Hackney said.

The negotiations came as the theater industry continues to struggle to recover to pre-COVID-19 pandemic levels.

“The world of Off Broadway theater is quickly changing: many not-for-profits are doing shorter seasons and choosing plays with smaller casts, press coverage that can boost tickets sales is never guaranteed, advertising costs continue to rise and production costs have nearly doubled since the pandemic. Most of Off Broadway is facing a precarious financial situation, running significant deficits since returning from COVID,” the Atlantic added. “If IATSE is successful in getting their proposed financials with Atlantic, it would set a precedent for other Off Broadway companies and we may see the demise of some of our greatest institutions, including Atlantic.”

“Atlantic is pro-union and works collaboratively with several other unions, but we have to make this agreement financially sustainable for everyone or we will not be around to offer any work to anyone,” its statement concluded. “Our hope is that IATSE will reconsider the stance it is taking and work with us to reach a fair contract for our production crew quickly.”

IATSE noted that Atlantic received over $4.3 million from the Shuttered Venue Operators Grant (SVOG) under the 2021 Save Our Stages law, as well as $205,000 in grants from the National Endowment for the Arts (NEA) over the past decade.

“These funds were intended to support arts institutions and their workers during the COVID-19 pandemic and beyond. Yet, Atlantic Theater has used these resources without extending the same respect and support to the workers who keep their venues running,” IATSE said. “Atlantic Theater’s board of directors has a moral responsibility to negotiate in good faith and agree to a fair contract that allows productions to continue without disruption. The union remains ready and willing to return to the table at any time to reach an agreement that respects the rights and contributions of the crew. Despite management’s refusal to bargain fairly, the Atlantic crew has remained united in its demand for a contract that recognizes its contributions and provides the basic protections of union representation.”

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“We are proud of all that The Athletic and The New York Times as a whole has accomplished since our 2022 acquisition, and we know that our inclusion in the Times Guild will only further strengthen our work,” a letter from organizers at The Athletic to Times Publisher A.G. Sulzberger and CEO Meredith Kopit Levien read.

A spokesperson from the Times confirmed to TheWrap that they have “received and are reviewing” the Athletic staffers’ written intent to unionize.

In a Monday statement from NewsGuild of New York, the union that represents the NY Times Guild, organizers noted that The Times had promised when it acquired The Athletic in 2022 that it would remain as a separate entity. But in September 2023, The Times closed its sports desk and shifted all of the newspaper’s sports coverage to staff members on The Athletic.

“The Times must recognize these workers as part of the Times Guild,” said Susan DeCarava, president of The NewsGuild of New York. “We will not support a two-tier system that disenfranchises workers and undermines our members, nor will we accept management’s charade that The Athletic is a separate entity.”

“Over the past several months, we have organized around the principle of preserving what makes The Athletic great — our staff, our work and our loyal readership,” added Katie Strang, senior investigative reporter for The Athletic. “The work we do is union work and we believe we should be afforded the same benefits and protections as the Times Guild members under their current contract.” 

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“I want to recognize the incredible work that the Negotiations Committee put into seeing this agreement reached and ratified,” Steve Kaplan, the business representative for the Animation Guild, said in a statement. “This agreement is the next step forward in our goal to create the strongest contract for our members. The advancements made here are plenty, but there is also much work to be done with regard to addressing the priority matters that were not fully answered. The membership made clear to us that there is a need for more focus on Generative Artificial Intelligence, and we will attack the issue through a multi-faceted approach including lobbying for effective legislation, advocating for tax incentives for human-made work and grieving against potential abuses.”

“The AMPTP member companies congratulate The Animation Guild, including its leadership, its bargaining committee and its membership, on the ratification of this new three-year deal. The many talented and creative employees represented by The Animation Guild will immediately enjoy historic gains in wages, protections and other important improvements for their craft,” a representative for the AMPTP said in a statement to press.

The Animation Guild, which is a member of IATSE Local 839, first reached a tentative deal with the Alliance of Motion Picture and Television Producers (AMPTP) in late November. This deal was a result of several rounds of negotiations over the past three months.

As for artificial intelligence, written notifications will be implemented and animators will have the ability to consult with the production when it comes to identifying alternative tools that do not use GenAI. The new deal does not forbid the AMPTP from using AI altogether, which was a hope for some.

Specifically, the guild negotiated for a 7% increase in minimum wages for the first year of its new contract. That will be followed by a 4% increase in its second year and 3.5% in the third year. This deal also contained language that allows for remote work, a vital clause for animators who have moved out of Los Angeles due to the city’s high cost of living. These workers will now be protected by the union and will be allowed to work on union productions.

A provision requiring “pay equity” for color designers was also added as was a staffing minimum for TV animation writers. There were also increases to health and pension funds without cuts to benefits or added costs to customers. Additionally, changes to bereavement leave were made while more sick days were added and Juneteenth was recognized as a holiday.

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“If your package is delayed during the holidays, you can blame Amazon’s insatiable greed,” Teamsters General President Sean O’Brien said in a statement on Thursday. “We gave Amazon a clear deadline to come to the table and do right by our members. They ignored it,” said O’Brien. “These greedy executives had every chance to show decency and respect for the people who make their obscene profits possible. Instead, they’ve pushed workers to the limit and now they’re paying the price. This strike is on them.” 

Per the statement, nearly 10,000 Amazon workers are participating in the strike in an effort to receive higher wages, better benefits and safer work conditions. Teamsters local unions are putting up primary picket lines at hundreds of Amazon Fulfillment Centers nationwide. Amazon warehouse workers and drivers without collective bargaining agreements can also legally choose to honor the picket lines.

The Teamsters represent a small portion of Amazon workers, but have taken steps to unionize more. Amazon is the largest employer of warehouse workers in the United States, with estimates of more than 700,000 warehouse workers. Amazon also has more than 275.000 delivery drivers who work for third-party courier companies known as Delivery Service Partners (DSPs): 

Overall, Amazon is the second-largest private-sector employer in the country.

What the Teamsters calls the “largest strike against Amazon in U.S. history” started up at 6 a.m. EST on Thursday after the group states Amazon refused to follow “the law and bargain with the thousands of Amazon workers” who are working with the Teamsters.

The distribution centers taking part in the strike include DBK4 in New York City, DGT8 in Atlanta, DFX4, DAX5 and DAX8 in Southern California, DCK6 in San Francisco and DIL7 in Skokie, Illinois. The release also states that Amazon Teamsters at other centers are prepared to join, and Teamster local unions will put up primary picket lines at “hundreds” of Amazon Fulfillment Centers across the nation.

The move comes nearly a week after thousands of company employees threatened to hit the picket lines during the holiday season. IBT told Amazon it has until Sunday, Dec. 15, to start negotiating, or risk dealing with a strike. The union represents about 5,500 Amazon workers, with employees at the NYC warehouses previously calling for a $30 per hour wage.

“Amazon is pushing its workers closer to the picket line by failing to show them the respect they have earned,” Teamsters president Sean O’Brien previously told ABC News. “If these white-collar criminals want to keep breaking the law, they better get ready for a fight.”

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The settlement will provide back pay to workers at the Anaheim theme park, with interest dating back to the start of 2019, and comes as Anaheim is set to raise the minimum wage to $20.50 per hour at the start of 2025. Disney approved the preliminary settlement on Friday and it will be reviewed by a Superior Court judge on Jan. 17 before workers are notified.

The lawsuit alleged that in 2019, Disney did not adjust wages in accordance with the passage of Measure L, an Anaheim ballot proposition that required companies that received tax rebates from the city — namely Disney — to pay at least $15/hour.

Disney’s attorneys argued that it did not have tax rebate agreements with Anaheim and wasn’t subject to the terms of the law. A judge initially sided with Disney, but an appellate court reversed the decision after it was determined that such agreements were made with the city as part of a 1996 expansion deal that helped pave the way for the creation of Disneyland’s neighbor park, Disney’s California Adventure.

The California Supreme Court later turned down Disney’s request to hear the case, ending the legal battle.

The settlement is the latest victory for Disneyland workers after a multiyear labor campaign in which employees outlined the financial struggles they face despite being employed by the beloved “Happiest Place on Earth.” The park’s employees staged protests outside the entrance to the Disneyland Resort and shared stories of their struggles to reporters and on social media.

Their struggle even reached the attention of Walt Disney’s grandniece, Abigail E. Disney, who interviewed Disneyland employees for her 2022 documentary, “The American Dream and Other Fairy Tales.” Some employees told her that they had to live out of their cars on the streets of Anaheim and struggled to even provide food for their families.

Along with the lawsuit, Disney workers pushed for stronger wages through their union reps at the Master Services Council, a coalition of four unions that represent over 14,000 Disneyland employees. After voting to authorize a strike, MSC members and negotiators reached a deal that raised base pay to $24/hour.

This higher pay was noted by a Disneyland spokesperson in a statement.

“We are pleased that this matter is nearing resolution. Currently, all cast members make at least the Measure L requirement of $19.90 per hour, and, in fact, 95% of them make more,” the statement read.

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The International Brotherhood of Teamsters on Friday told Amazon it has until Sunday, Dec. 15, to start negotiating or risk dealing with a strike. The union represents about 5,500 Amazon workers, with employees at the NYC warehouses previously calling for a $30 per hour wage.

“Amazon is pushing its workers closer to the picket line by failing to show them the respect they have earned,” Teamsters president Sean O’Brien told ABC News. “If these white-collar criminals want to keep breaking the law, they better get ready for a fight.”

The employees represented by the union voted on Friday in favor of giving the union the ability to call a strike, although that doesn’t guarantee a strike will happen. Amazon warehouses in Queens and Staten Island — the location of Amazon’s first unionized warehouse in the U.S. — would be hit by the strike.

Amazon did not immediately respond to TheWrap’s request for comment.

Friday’s vote came after the independent Amazon Labor Union merged with the Teamsters in June. It also came after Amazon said in September it was investing $2 billion into its delivery business — a move that would boost the average hourly wage its drivers got to $22.

More Perfect Union, a self-described “advocacy journalism” outlet, posted a video to X on Friday featuring interviews with several Amazon warehouse workers. One male worker in the video said he’s been pushed to work 11.5-hour days, 5 days a week, with only a 30-minute break.

“Every horror story you read about Amazon is true — but worse. And that is why I voted ‘Yes’ for the strike,” another female employee said.

Conner Spence, the head of the local Amazon employee union, added, “Ultimately, Amazon only speaks one language — and that’s money. We’re going to hit them where it hurts until they decide it’s time to come to the table.”

The potential strike comes at an inopportune time for Amazon. Last year, the company reported $170 billion in Q4 sales.

The post New York Amazon Workers Threaten Strike Amid Holiday Rush appeared first on TheWrap.

The union appointed industry veterans Larry Zanoff and Brook Yeaton on Thursday as the first Industry Firearms Experts for the entertainment labor union. IATSE, which represents over 168,000 technicians, artisans and craft people in the industry, has now taken a heightened precaution in protecting its members.

These two advisory roles will work closely with IATSE’s negotiating committee to address and mitigate firearm safety issues in the industry. The pair will also represent the union at key industry forums, legislative hearings and regulatory matters that require expert opinions or testimony from entertainment trade professionals.

“I am honored to be selected by my peers for this position, and look forward to bringing my knowledge and experience to this new role assisting my fellow members and industry colleagues in maintaining the highest level of safety on set,” Zanoff said in a Thursday statement, while Yeaton added, “Weapon safety is everyone’s responsibility.”

Both appointees have specialized knowledge on firearm safety. Zanoff has a background in law enforcement, combat service and a degree in gunsmithing. He has also worked extensively as a motion picture armorer and has even appeared on “Hollywood Weapons and Gun Stories.” Yeaton has been a member of IATSE for over 30 years as both a property master and armorer on shows like “NCIS: New Orleans” and “The Wire” and has also exhibited leadership qualities, serving as the president of local 478.

Firearm safety in Hollywood has come under increased public scrutiny since the death of Halyna Hutchins on the set of “Rust” in 2021. During rehearsals on-set in New Mexico, Alec Baldwin fired a shot from a prop gun that killed the cinematographer. The gun was not supposed to be loaded with live ammunition.

Baldwin’s case has since been dismissed because the prosecution withheld evidence; however, the film’s armorer Hannah Gutierrez-Reed was charged and convicted of involuntary manslaughter in March.

While IATSE hasn’t appointed Industry Firearm Experts formally in the past, the union said expert input is always gathered and incorporated into the union’s contracts based on conversations with the negotiating committee.

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The open letter comes in response to a Nov. 18 story published by The Atlantic revealing the existence of a data set called OpenSubtitles, which pulled subtitles from every Best Picture Oscar-winning film from 1950 to 2016, as well as thousands of episodes of acclaimed TV shows such as “The Sopranos,” “The Simpsons,” “Breaking Bad” and “Seinfeld,” among others.

The data set has been used by top tech companies such as Apple, Salesforce and Nvidia to help train their AI systems. The article created a firestorm amongst writers on social media platforms that quickly came to the guild’s attention, according to insiders.

In the letter, the WGA criticized studios for doing “nothing to stop this theft.  They have allowed tech companies to plunder entire libraries without permission or compensation. The studios’ inaction has harmed WGA members.”

“Having amassed billions in capital on this foundation of wholesale theft, these tech companies now seek to sell back to the studios highly-priced services that plagiarize stolen works created by WGA members and Hollywood labor,” the guild writes.

The collective bargaining agreement signed by the guild and studios in September 2023 to end a four-month strike does not have specific protections for writers against their work being used in AI training data sets. But there is broader language in the contract that, as the WGA asserts, “expressly requires the studios to defend their copyrights on behalf of writers.”

“MBA Article 50 provides that the studios hold “in trust” rights reserved to certain writers of original works. Writers who have separated rights in those works under Article 16.B retain all other rights in the material, including the right to use the works to train AI systems,” the letter reads. “As holders of those rights in trust, the studios have a fiduciary obligation to protect against the unauthorized use of the works for AI training purposes.”

During the strike, WGA leaders noted that it was in the studios’ best interest to work with Hollywood unions on AI regulation to protect their intellectual property, and is calling on executives to join them on that common ground once again.

“After this industry has spent decades fighting piracy, it cannot stand idly by while tech companies steal full libraries of content for their own financial gain,” it said.

The full open letter from the WGA West Board of Directors and WGA East Council can be read below.

The November 18 Atlantic article “There’s No Longer Any Doubt That Hollywood Writing is Powering AI” confirms what was already clear to so many: tech companies have looted the studios’ intellectual property—a vast reserve of works created by generations of union labor—to train their artificial intelligence systems. Having amassed billions in capital on this foundation of wholesale theft, these tech companies now seek to sell back to the studios highly-priced services that plagiarize stolen works created by WGA members and Hollywood labor. 

The studios, as copyright holders of works written by WGA members, have done nothing to stop this theft. They have allowed tech companies to plunder entire libraries without permission or compensation. The studios’ inaction has harmed WGA members. 

The Guild’s collective bargaining agreement—the MBA—expressly requires the studios to defend their copyrights on behalf of writers. MBA Article 50 provides that the studios hold “in trust” rights reserved to certain writers of original works. Writers who have separated rights in those works under Article 16.B retain all other rights in the material, including the right to use the works to train AI systems. As holders of those rights in trust, the studios have a fiduciary obligation to protect against the unauthorized use of the works for AI training purposes.

It’s time for the studios to come off the sidelines. After this industry has spent decades fighting piracy, it cannot stand idly by while tech companies steal full libraries of content for their own financial gain. The studios should take immediate legal action against any company that has used our members’ works to train AI systems. 

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The complaint, filed from the board’s regional office in Minnesota, says that the show has committed numerous labor law violations, among them contracts that unlawfully included noncompete clauses and confidentiality requirements.

Representatives for Netflix declined to comment on this story.

If the ruling stands, it has implications for reality TV as an industry, given that reality shows feature people often engaging in real acts with potentially lifelong consequences. For instance, “Love Is Blind” contestants may end up engaged and even married to one another.

Indeed, the show has faced multiple accusations of wrongdoing. Former cast members have complained that they were isolated, had their mental health concerns ignored and were provided with excessive alcohol.

Renee Poche, a contestant from the fifth season, filed a lawsuit earlier this year against Delirium TV, the show’s production company, and Netflix, saying she “didn’t feel safe” and that she had been set up with a “violent” alcoholic and drug addict.

In a statement provided to TheWrap, Poche’s attorney, Bryan Freedman, said, “Mark Geragos and I, along with our legal teams, have been working closely with the NLRB for over a year and are thrilled that this collaboration has resulted in a monumental filing that promises to change the reality TV industry forever. The practices identified by the NLRB in its complaint against Delirium are ubiquitous in this space. Make no mistake, the reality reckoning is alive and well. This is not the last shoe to drop. Standby.”

And former contestant Tran Dang filed a lawsuit in 2023 in which she said she had been sexually assaulted on May 3, 2022 by another contestant, and was “forcefully groped,” and that the assailant repeatedly assaulted her over her objections.

In response to that lawsuit, the show’s producers said in a statement at the time, “”We document the independent choices of adults who volunteer to participate in a social experiment. Their journey is not scripted, nor is it filmed around the clock. We have no knowledge or control over what occurs in private living spaces when not filming, and participants may choose to end their journey at any time.”

Neither the show’s producers nor Netflix have responded to the NLRB’s classification.

Though the ruling could have a significant impact, it may also not matter. Earlier Wednesday Senators Joe Manchin and Kirsten Sinema, both former Democrats known for bucking the party at critical times, both of whom are now registered independents, were the deciding votes to prevent Democrats from locking in a majority on the NLRB board before Trump takes office.

As a result, Trump will be able to appoint the tie-breaking vote to the board. It remains to be seen how things will go, but even if his nominee to head up the Department of Labor is surprisingly friendly to unions, based on his public statements as well as his record as president from 2017-2021, Trump’s NLRB appointee is unlikely to back the complaint.

There’s also the matter of a lawsuit, backed by Amazon, Elon Musk and other major businesses that have been accused of serious labor law violations, that aims to have the Supreme Court declare the National Labor Review Board itself unconstitutional. In other words, stay tuned.

The post ‘Love Is Blind’ Contestants Classified as Employees by National Labor Board appeared first on TheWrap.

The statement came on Wednesday after some committee members posted to social media their thoughts on the deal and that they plan to vote ‘No’ to ratify it. The tentative deal was originally reached with the Alliance of Motion Picture and Television Producers on Nov. 22.

“We believe this agreement is the strongest contract the Union has negotiated in the last decade with significant craft improvements, substantial wage increases and critical new protections,” the message read. “The executive board supports the agreement because Guild members as a whole stand to greatly benefit from its terms, across all crafts. As elected leaders, the executive board acts on behalf of the members we work with day to day, in hopes to secure a robust future for animation workers.”

Complaints from committee members like Mike Rianda – director of “The Mitchells vs. the Machines” – began to crop up on social media on Tuesday as the ratification process began. Rianda posted to Instagram that he felt the deal did not feature enough safeguards from artificial intelligence.

“Studios can replace workers with AI,” he wrote. “Studios can force you to use AI. Studios can give you AI work to finish on any timeline. We didn’t get staffing minimums to protect crew sizes from AI job losses… This was gutting.”

When reached by TheWrap, Rianda declined to provide further comment.

Joey Clift, a member of the Animation Guild committee’s support staff, took to Bluesky to add that the current deal didn’t provide the guardrails needed for animation workers. The summary of the guild’s memorandum of agreement (MOA) notes that producers must notify animation employees if generative AI will be used on a project and allow employees to request consultation for alternatives that do not involve the technology.

All work using GenAI will still be union-covered work and will not affect an employee’s pay or credit, but there is no language that gives animators the power to refuse to use GenAI in their work.

“I talked to a lot of TAG members about this, and people are scared,” Clift wrote. “Scared of losing their careers they’ve spent decades of their lives working towards, all so a few rich people can save a few bucks. We fought tooth and nail and received a few small AI protections in this contract, but these aren’t the strong, common sense AI guardrails we need to keep animation workers protected.”

The executive board was adamant with their defense of the tentative deal, however, stating they remain committed to providing protections for the entire guild.

Their statement echoed explanations made by the guild in an FAQ on their contract website, which detailed that TAG could not push for banning generative AI from any union production “not only because the producers would never have agreed to that, but because it would also result in the work being sent to non-union workers, without the protection or benefits of a Collective Bargaining Agreement,”

“Generative AI is a complex and deeply concerning issue for our industry, and we recognize the passion and apprehension it has sparked among our members,” the statement continued. “We are absolutely committed to protecting our industry. It’s also important to understand that union contracts alone cannot solve this challenge, as seen in the recent contracts of other entertainment unions with far larger memberships and leverage than our own. Real long-term change requires broader solutions, alongside the GenAI guardrails we have gained in this contract. Changes include those within the Union — enforcement of existing protections, lobbying through TAG’s AI Watchdog Committee, organizing studios across the U.S. — and beyond, such as robust government regulations, public support for human-made work and tax incentives that support human creativity.”

The message concluded, “This contract balances progress with leverage, addressing challenges and delivering meaningful gains that we have been working on for years during numerous contract cycles. We trust our members will see this as a significant step forward and vote ‘Yes’ to ratify the agreement.”

The debate among animators over whether the AI protections in the MOA are sufficient echo those within other IATSE locals earlier this year with regards to the Hollywood Basic and Area Standards Agreements, which handle wages and working conditions on live-action productions.

This past July, members of the Art Directors Guild (IATSE 800) told TheWrap that they opposed ratifying the bargaining agreements because they found the AI protections negotiated in the contract to be insufficient for protecting the long-term viability of their professions.

One member who was part of the ADG’s AI task force said that his group recommended contract language similar to that negotiated last year by the Writers Guild of America that prevented writers from being forced by studios to use AI in their writing or to use AI-generated material as adaptational material.

The members who spoke to TheWrap also warned that while IATSE had negotiated generous wage increases, more rigorous set safety protocols and double/triple overtime pay for shoot days that last longer than 12 hours, the number of union members able to take advantage of those benefits would decrease as studios turn to AI to reduce the number of crew workers that need to be hired in an effort to lower budgets.

With crew workers in Hollywood struggling financially due to rising costs of living and major losses in financial savings due to the 2023 writers’/actors’ strikes, both IATSE contracts were ratified with 85% of voting members in favor.

The Animation Guild’s ratification process began Tuesday and will conclude on Dec. 22.

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