The Ankler writes about the aftermath of the writers strike:
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Downstream financial harm to adjacent businesses generates social and political pressures that further enhance that negotiating leverage — as long as striking workers can capture the hearts and minds of those affected third parties, and of the public more generally.
WGA leaders and members have vowed that the union will remember and repay the support shown (and sacrifice borne) by non-writers, and argued that its deal set important precedents that would, in time, inure to the benefit of virtually all of the industry’s workers.
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Reciprocity is crucial in strikes. After a union causes pain to other workers, it needs to show solidarity later when the other workers strike to defend their own powers.
For auto workers, reciprocity is solely about unions helping other unions. For writers, reciprocity has an extra meaning.
Until now the Hollywood writers and actors have RUTHLESSLY AND VICIOUSLY destroyed the working class. For 30 years they’ve been totally supporting the Share Value capitalists who offshored auto and textile jobs, bought up all the houses, and locked down and strangled the country.
Hollywood has exclusively taken the side of environmentalists who removed factories from black neighborhoods. Franny ruined her message by screeching about GLOBAL BURNING. Gaia enriches the rich and kills the poor. That’s the whole purpose.
Hollywood has relentlessly mocked every taste and moral value of working people, especially working men. Hollywood shouts FUCK TRUMP but never shouts FUCK BEZOS.
Many working men felt pure Schadenfreude when Hollywood started to fail. If the writers and actors want to keep the hearts and minds of the country, they need to think more like Steinbeck and less like Soros. More like Irving Berlin and less like Erykah Badu.
Polistra's Mill 