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Video game actors are on strike. Here's what that means

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Video game actors are on strike. Here's what that means

Video game performers are officially on strike.

The Screen Actors Guild-American Federation of Television and Radio Artists called a walkout this week on behalf of roughly 2,600 actors doing voice-over, motion-capture and other work in the gaming industry.

Union leaders took the step after they could not reach an agreement on artificial intelligence terms while bargaining for a new contract with the top video game companies, including Activision, Electronic Arts, Insomniac and Blindlight.

“We’re not going to consent to a contract that allows companies to abuse AI to the detriment of our members,” SAG-AFTRA President Fran Drescher said in a statement Thursday. “Enough is enough.”

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Audrey Cooling, a spokesperson for the video game producers, said in a statement: “We are disappointed the union has chosen to walk away when we are so close to a deal, and we remain prepared to resume negotiations.”

How did we get here?

The union has been in contract negotiations with the video game companies since 2022, and the Interactive Media Agreement expired that November.

Video game performers are seeking a new agreement that will require video game producers to obtain their consent and compensate them when using AI to replicate their voices or likenesses. They are also demanding wage increases to keep up with inflation, more rest time and set medics for hazardous jobs.

Tensions escalated in September 2023, when union members voted 98% in favor of authorizing a strike.

Duncan Crabtree-Ireland, chief negotiator and national executive director of SAG-AFTRA, said at the time that the companies were not “willing to meaningfully engage on the critical issues,” including compensation, AI and safety.

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The companies vowed to “negotiate in good faith to reach an agreement that reflects the important contributions” of game performers.

On July 20, the union’s national board of directors granted Crabtree-Ireland the authority to call a strike, citing a lingering dispute over AI.

How will this affect the video game companies?

Much like last year’s Hollywood writers’ and actors’ strikes against the film and TV studios and streaming services, this one could potentially lead to longer-term production lulls, particularly for games scheduled for release in 2025 or 2026.

Production is expensive and on a tight schedule, a reality that doesn’t give video game companies a lot of margin to “sit this out,” said Joost van Dreunen, an adjunct assistant professor at NYU Stern School of Business and author of “One Up: Creativity, Competition, and the Global Business of Video Games.”

For instance, companies can’t afford to miss out on the all-important holiday spending season. November and December traditionally account for about half of annual game sales, he said.

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“If you don’t get things across the line, if you can’t finish your work and release it on time, you’re going to miss a very, very important window, and that’s going to hurt you financially,” Van Dreunen said.

But not all games are covered by the strike. According to contract provisions, games that were in production when the union provided the company with notice of its termination are not subject to the strike order, according to a SAG-AFTRA spokesperson.

What’s next?

As of Friday, SAG-AFTRA video game actors are barred from lending their services to any struck games.

Those services may include acting, singing, dancing, stunts, motion capture, auditions, camera tests, rehearsals, authorizing the use of one’s voice or likeness, background and stand-in work.

Covered performers are also prohibited from promoting struck games via social media, interviews, conventions, festivals, award shows, podcast appearances or any other platform. (The ongoing San Diego Comic-Con has been exempt from this rule due to its proximity to the strike announcement.)

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The union has indicated that it will also hold pickets as part of the walkout.

Only time will tell how long it will take the union and the companies to reach a tentative agreement and end the work stoppage.

The last strike by video game actors stretched on for nearly a year, from October 2016 to September 2017. Back then, AI had yet to become a major concern and performers were pushing for residual-like payments based on video game sales — similar to how film and TV actors are compensated for their work.

Van Dreunen said companies would likely try to resolve the contract negotiations by September, but at the latest, by the end of the year, before answering to investors during their next earnings calls.

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Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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