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WGA Strike: Writers Want Higher Wages, Job Security, Residual Pay and More
SACRAMENTO OBSERVER — For almost a week now, writers have been picketing major studios in Los Angeles and New York City, after failing to reach a new contract agreement with the Alliance of Motion Picture and Television Producers (AMPTP). The writers’ contracts expired on May 1 and negotiations with the Film and Motion Picture Association (FMPA) have not resulted in an agreement.
The post WGA Strike: Writers Want Higher Wages, Job Security, Residual Pay and More first appeared on BlackPressUSA.

By Maxim Elramsisy | California Black Media
(CBM) – Rae Benjamin, a Los Angeles resident and writer for the Netflix series “The Witcher,” is among more than 11,000 members of the Writers Guild of America (WGA) participating in a strike that has disrupted film and television production.
For almost a week now, writers have been picketing major studios in Los Angeles and New York City, after failing to reach a new contract agreement with the Alliance of Motion Picture and Television Producers (AMPTP).
The writers’ contracts expired on May 1 and negotiations with the Film and Motion Picture Association (FMPA) have not resulted in an agreement.
“For me, streaming residuals are really important,” stated Benjamin, one of the few Black writers in the union.
“Whenever they re-air an episode television writers would get a check based upon that,” she explained. “When network shows were the only options, content was constantly re-aired, and it really rewarded people who worked on a popular show. You could be making money from that show, years and years later, because it’s in syndication.”
Benjamin says the compensation structure is different for streaming companies like Netflix.
“They refuse to release data on how many people actually watch your shows, even though it’s easy to do. Because they’re refusing to do that we could not get accurately paid for our work. We can’t get paid the residuals and streaming that we’re owed,” she said.
In the past decade, streaming platforms, particularly Netflix, have disrupted the traditional cable television model by producing new shows with shorter seasons in an effort to attract new subscribers.
Last week, the AMPTP offered annual salary increases for writers and made other concessions, but the WGA has yet to respond to the proposal.
“When you see what was put on the table, and then you see that the producers negated most things, even proposals such as making sure that we’ll have jobs and not robots take our jobs, and there’s no proposal for that No. counter for that,” said Benjamin. “It’s a little scary to think that, hey, there’s an AI that might be able to write your entire show, and no one seems to be fretted about that at all.”
In a statement, AMPTP acknowledged that the emergence of Artificial Intelligence technology “requires a lot more discussion.”
“AI raises hard, important creative and legal questions for everyone. For example, writers want to be able to use this technology as part of their creative process, without changing how credits are determined, which is complicated given AI material can’t be copyrighted, the statement reads.
WGA’s proposal stipulated, “AI can’t write or rewrite literary material, can’t be used as source material; and MBA (Minimum Basic Agreement) covered material can’t be used to train AI.” AMPTP rejected the offer and countered with an offer of “annual meetings to discuss advancements in technology.”
AMPTP did not make a counteroffer regarding proposals about duration of employment, which the writers say is too short and akin to freelance work.
“On network shows we would typically be employed for a long time, because there were more episodes. It would be 20 to 30 episodes of the show, which means you were employed 40 to 45 weeks out of the year,” said Benjamin. “We would just take a break in between seasons and come back. So being a writer was a very stable career. Now, because of extremely short orders of streaming shows, it’s become more unstable. Worse than that, these companies don’t want to hire people for a reasonable amount of time to complete a show.”
Benjamin says showrunners and show creators cut corners by hiring writers for a short time then build on their work with rewrites and edits.
“The actual writers get a job for two weeks, which is very little pay,” she said. “I think it also disproportionately affects Black creatives, because a lot of times they’ll hire us to do the cheapest amount of labor.”
West Hills-based writer Sid Quashie told the Los Angeles times he made $250,000 for a script he sold to Walt Disney Studios in 2003. Sixteen years later in 2019, when he sold a script to Netflix, he made under $100,000.
In 2007, the WGA went on a 100-day strike that cost the city of Los Angeles an estimated $2.1 billion and countless jobs as all corners of the industry and others adjacent to it were impacted.
Only one week into the 2023 strike, there are already casualties. Late night shows were canceled abruptly. Daily shows stopped. Productions for all shows are tenuous, with many on pause.
Gov. Gavin Newsom and Mayor Karen Bass, who have received support from both sides of the dispute, have expressed their concerns and are advocating for a resolution.
Newsom said Tuesday at the Milken Institute Global Conference that the work stoppage “has profound consequences direct and indirect. Every single one of us will be impacted by this, and we’re very concerned about what is going on because both sides are dug in. The stakes are high.”
“Los Angeles relies on a strong entertainment industry that is the envy of the world while putting Angelenos to work in good middle class jobs. I encourage all sides to come together around an agreement that protects our signature industry and the families it supports,” Mayor Bass said.
In the short term, streaming platforms with more scripts banked may have an advantage, as they can continue their productions. Daily and weekly cable shows are at the greatest risk. During the last writer strikes, the producers turned to unscripted content, leading the creation of the reality show Cops and even The Celebrity Apprentice.
The Directors Guild and Screen Actors Guild are also in negotiations, with contracts set to expire at the end of June.
The post WGA Strike: Writers Want Higher Wages, Job Security, Residual Pay and More appeared first on The Sacramento Observer.
This article originally appeared in the Sacramento Observer.
The post WGA Strike: Writers Want Higher Wages, Job Security, Residual Pay and More first appeared on BlackPressUSA.
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OP-ED: Oregon Bill Threatens the Future of Black Owned Newspapers and Community Journalism
BLACKPRESSUSA NEWSWIRE — Nearly half of Oregon’s media outlets are now owned by national conglomerates with no lasting investment in local communities. According to an OPB analysis, Oregon has lost more than 90 news jobs (and counting) in the past five years. These were reporters, editors and photographers covering school boards, investigating corruption and telling community stories, until their jobs were cut by out-of-state corporations.

By Dr. Benjamin F. Chavis, Jr.
President and CEO, National Newspaper Publishers Association
For decades, The Skanner newspaper in Portland, the Portland Observer, and the Portland Medium have served Portland, Oregon’s Black community and others with a vital purpose: to inform, uplift and empower. But legislation now moving through the Oregon Legislature threatens these community news institutions—and others like them.
As President and CEO of the National Newspaper Publishers Association (NNPA), which represents more than 255 Black-owned media outlets across the United States—including historic publications like The Skanner, Portland Observer, and the Portland Medium—l believe that some Oregon lawmakers would do more harm than good for local journalism and community-owned publications they are hoping to protect.
Oregon Senate Bill 686 would require large digital platforms such as Google and Meta to pay for linking to news content. The goal is to bring desperately needed support to local newsrooms. However, the approach, while well-intentioned, puts smaller, community-based publications at a future severe financial risk.
We need to ask – will these payments paid by tech companies benefit the journalists and outlets that need them most? Nearly half of Oregon’s media outlets are now owned by national conglomerates with no lasting investment in local communities. According to an OPB analysis, Oregon has lost more than 90 news jobs (and counting) in the past five years. These were reporters, editors, and photographers covering school boards, investigating corruption, and telling community stories, until their jobs were cut by out-of-state corporations.
Legislation that sends money to these national conglomerate owners—without the right safeguards to protect independent and community-based outlets—rewards the forces that caused this inequitable crisis in the first place. A just and inclusive policy must guarantee that support flows to the front lines of local journalism and not to the boardrooms of large national media corporations.
The Black Press exists to fill in the gaps left by larger newsrooms. Our reporters are trusted messengers. Our outlets serve as forums for civic engagement, accountability and cultural pride. We also increasingly rely on our digital platforms to reach our audiences, especially younger generations—where they are.
We are fervently asking Oregon lawmakers to take a step back and engage in meaningful dialogue with those most affected: community publishers, small and independent outlets and the readers we serve. The Skanner, The Portland Observer, and The Portland Medium do not have national corporate parents or large investors. And they, like many smaller, community-trusted outlets, rely on traffic from search engines and social media to boost advertising revenue, drive subscriptions, and raise awareness.
Let’s work together to build a better future for Black-owned newspapers and community journalism that is fair, local,l and representative of all Oregonians.
Dr. Benjamin F. Chavis Jr., President & CEO, National Newspaper Publishers Association
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Hate and Chaos Rise in Trump’s America
BLACKPRESSUSA NEWSWIRE — Tactics ranged from local policy manipulation to threats of violence. The SPLC documented bomb threats at 60 polling places in Georgia, traced to Russian email domains.

By Stacy M. Brown
Black Press USA Senior National Correspondent
The Southern Poverty Law Center has identified 1,371 hate and antigovernment extremist groups operating across the United States in 2024. In its latest Year in Hate & Extremism report, the SPLC reveals how these groups are embedding themselves in politics and policymaking while targeting marginalized communities through intimidation, disinformation, and violence. “Extremists at all levels of government are using cruelty, chaos, and constant attacks on communities and our democracy to make us feel powerless,” said SPLC President Margaret Huang. The report outlines how hard-right groups aggressively targeted diversity, equity, and inclusion (DEI) initiatives throughout 2024. Figures on the far right falsely framed DEI as a threat to white Americans, with some branding it a form of “white genocide.” After the collapse of Baltimore’s Francis Scott Key Bridge, a former Utah legislator blamed the incident on DEI, posting “DEI = DIE.”
Tactics ranged from local policy manipulation to threats of violence. The SPLC documented bomb threats at 60 polling places in Georgia, traced to Russian email domains. Similar threats hit Jewish institutions and Planet Fitness locations after far-right social media accounts attacked them for trans-inclusive policies. Telegram, which SPLC describes as a hub for hate groups, helped extremists cross-recruit between neo-Nazi, QAnon, and white nationalist spaces. The platform’s lax moderation allowed groups like the Terrorgram Collective—designated terrorists by the U.S. State Department—to thrive. Militia movements were also reorganized, with 50 groups documented in 2024. Many, calling themselves “minutemen,” trained in paramilitary tactics while lobbying local governments for official recognition. These groups shared personnel and ideology with white nationalist organizations.
The manosphere continued to radicalize boys and young men. The Fresh & Fit podcast, now listed as a hate group, promoted misogyny while mocking and attacking Black women. Manosphere influencers used social media algorithms to drive youth toward male-supremacy content. Turning Point USA played a key role in pushing white nationalist rhetoric into mainstream politics. Its leader Charlie Kirk claimed native-born Americans are being replaced by immigrants, while the group advised on Project 2025 and organized Trump campaign events. “We know that these groups build their power by threatening violence, capturing political parties and government, and infesting the mainstream discourse with conspiracy theories,” said Rachel Carroll Rivas, interim director of the SPLC’s Intelligence Project. “By exposing the players, tactics, and code words of the hard right, we hope to dismantle their mythology and inspire people to fight back.”
Click here for the full report or visit http://www.splcenter.org/resources/guides/year-hate-extremism-2024.
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