emerges from the long slog of a strike and difficult contract talks with a deal that is far richer and more comprehensive than most industry observers would have predicted last spring when the fitful negotiations began.
The new component of the contract makes an exception for solo-writer shows, such as “The White Lotus” or “Big Little Lies” in which all episodes are written by a single writer. In those cases, the writer’s initial deal with the studio, network or streamer must call for the writer to work as a solo act from the start. Or as described by the guild in its summary of deal highlights, the minimum staff levels are in force “unless a single writer is engaged to write all episodes.
The new formula pays writers a bonus for original TV shows and movies that are broad-based hits for subscription-based platforms such as Netflix, Amazon Prime Video, Apple TV+, Max, Hulu and other streamers. The bonus covers high-budget, made-for-streaming titles. Most original series on major streamers meet the high-budget threshold. But the emphasis on made-for-streaming titles means that older series that were originally produced for non-streaming platforms — i.e.
As expected, the WGA also will see a big hike in foreign streaming residuals coming under the new contract, similar to the terms baked in to the Directors Guild of America’s contract that was set in May. The foreign residual calculation is expected to yield a 76% increase in foreign residual payments over three years for the streamers with the largest global subscriber bases over three years.
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