The sorry state of streaming residuals shows why SAG and the WGA are striking.

  • Magrath@lemmy.ca
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    1 year ago

    As the other poster stated, you get what you negotiate for. If you don’t negotiate for those secondary payments then you don’t get them. It’s right to argue when it’s “right or wrong” for those payments but you can argue whether it’s fair.

    The corporations take on the risk but when it pays the payout isn’t fairly distributed. It unfairly goes to the top players who didn’t take any risk on because they are seperate from the corporation.

    Also just because you don’t get any doesn’t mean nobody else should. You can try and negotiate that with your employer if you want. If you keep that mentality then you’re only bringing everyone else down to your level. We should be elevating each other. That mentality is just jealousy and it will keep you where you are.

    • Evil_Shrubbery@lemmy.zip
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      1 year ago

      Sure, but when the risks the capital takes are so low & long-term as in showbusiness (everything got consolidated af), and the payouts so huge compared to cost (especially excluding like top 5 most payed ppl on the project) … you might think that the negotiations weren’t made fairly on equal grounds.

      Otherwise, if there were meaningful risks, the corps would have no problem sharing (=lowering) that risk at least with immediate stakeholders/workers. I bet most writers would take minimal or no pay to get in on the profits (that can last decades). Most writers work on several projects a year so so if business risks would be actually important, lowering them via lower initial costs for shared uncertain future profits would be a win-win scenario.