#Bectu

[phonemantra-blog]

In a groundbreaking move, prominent British actresses, including Keira Knightley, Cara Delevingne, and Carey Mulligan, have joined forces to address the pervasive issue of harassment and bullying within the U.K.'s entertainment industry. Their efforts, outlined in an open letter, underscore the urgent need for systemic change and the establishment of an independent watchdog to ensure accountability and promote a safe working environment for all professionals. British Stars Advocate The Call for Action Uniting Against Harassment Knightley, Delevingne, Mulligan, along with Rebecca Ferguson, Naomie Harris, and Emerald Fennell, are among the vocal advocates demanding a crackdown on bullying and sexual harassment in the entertainment sector. Their collective call for action highlights the widespread nature of these issues and the pressing need for decisive measures to address them. Demands for Accountability The group, representing a larger coalition of 25 industry figures, has urged creative organizations to support the funding of a new watchdog, the Creative Industry Independent Standards Authority (Ciisa). This independent body would be tasked with investigating complaints across various entertainment sectors, including music, film, TV, and theater. The Importance of Ciisa Ensuring Fairness and Transparency The open letter emphasizes the necessity of an external body, such as Ciisa, to provide impartial mediation and accountability for misconduct within the industry. It highlights the lack of existing mechanisms for addressing grievances and underscores the critical role Ciisa would play in promoting fairness and transparency. A Collective Effort for Change Time's Up U.K., a leading advocacy group, has championed the establishment of Ciisa since 2021, rallying support from industry stakeholders and government officials. Despite challenges in securing funding, the initiative has garnered backing from major broadcasters, including ITV, the BBC, and Sky, signaling a collective commitment to driving meaningful change. Voices of Support Acknowledging the Need for Reform Actress Ruth Wilson, known for her roles in "The Affair" and "Luther," has voiced strong support for Ciisa, describing it as "invaluable" in addressing misconduct and promoting accountability. Her sentiments echo those of BBC boss Tim Davie, who views Ciisa as a transformative force for creating a safer and more inclusive industry. Highlighting Ongoing Challenges Recent research by Bectu has shed light on the prevalence of harassment within the entertainment sector, with 92 percent of surveyed professionals reporting firsthand experiences of bullying or harassment. Despite high-profile allegations, such as those against Russell Brand, efforts to address these issues have yielded limited results, underscoring the need for comprehensive reform. The Path Forward Building a Safer Environment The establishment of Ciisa represents a significant step toward fostering a culture of respect and accountability within the entertainment industry. By providing avenues for reporting and addressing misconduct, Ciisa aims to create a safer and more supportive environment for all professionals. Continued Advocacy and Collaboration Moving forward, sustained advocacy and collaboration will be essential in driving meaningful change and ensuring the effective implementation of Ciisa. As industry stakeholders unite in support of this initiative, the path toward a more equitable and inclusive entertainment sector becomes increasingly attainable.

[middaydolomite]

Lights, Camera, Industrial Action

New blog post: Lights, Camera, Industrial Action.

Last week, the Writers Guild of America (WGA) trade union began industrial action, shutting down production on many high-profile TV shows. The union leaders’ demands are complex, but they revolve around issues such as contract lengths, payments from streaming media, and the use of artificial intelligence software. Here’s a background of what’s happened so far. This strike is particularly…

[riddle-me-bitch]

Rant about my job under cut

Ok I love bectu, and thank fuck for the new bectu/pact agreement but fuck me the deal is flawed. They were campaigning for scripted tv work days to not be longer than 10 hours (aka, 10+1 hr unpaid for lunch HA), but some departments get 10+1+1 which is BULLSHIT. We’re still having to work 12 hr days, we’re just given one extra hour’s wage for the +1. Literal bullshit.

Yeah I get it, it pays well and the fact that we actually get overtime is great, but it pisses me off to no end that 12 hour days (not including the drive) is the norm. I don’t have a life except on the weekends when I’m catching up on sleep.

I left the house at 5:15 this morning and got home at 21:40. That’s does include actually somehow making it to the polling station on time and returning something at tescos, but fuck me. I was literally thinking “I need to eat and go to bed in an hour” and now it’s 23:20 and I should’ve gone to sleep at least 20 mins ago so I can get 5hrs sleep. I’m fucked, and the job literally just started. I have to do this until the middle of July

Just adding: it’s also the fact that I work in locations, which is the most thankless job in this industry. I’m not entirely sure people know what we do bc they only see us when they turn up to set. If we don’t prepare a site, nobody can do their job. Our job literally affects everyone else. We supply power, water, heat, aircon, shelter, the permissions for using a location and parking the tech trucks up plus whatever else and then production always gets on our arses about spending too much damn money on things like water pumps when they’ll pay sparks £400 to sit around and do fuck all.

[getthatmoodindigo]

Guess who was up till midnight writing a email to my union because the production company decided they weren't going to spend money on finishing my visa process even though I'M ALREADY IN SPAIN

Fuck you Disney

[theabigailthorn]

Just frustrated by the media industry rn and I hope you're doing OK. I think it'd be nice if people could afford to be working actors or actresses and sometimes I think that was a luxury for people born before whatever stupid year it doesn't matter.

Mm, the British media industry is in a very difficult spot. Between the COVID and strike backlogs and a general lack of resources commissioners are commissioning less, which means producers are selling less, which means producers don't meet with new writers, which means fewer things get developed and made, which means agents aren't booking actors, which means agents aren't signing new actors, so drama school graduates are graduating into a void, actors aren't working, editors, HMUs, and crew aren't working - I think something like 70% of BECTU members (creative freelancers) are out of work at the moment?

I've had two auditions this year in total so far, both tiny roles. Everything else has been stuff I've arranged myself or direct offers. Everybody I speak to says "Survive Till '25!" Anyone who can get work abroad is doing it, myself included.

[sgiandubh]

OMG, that photo!!!! https://deadline.com/2024/03/channel-4-bonuses-bectu-slammed-alex-mahon-ian-katz-1235862074/

Dear OMG Photo Anon,

You do realize, I hope, that's really what acting is about, right?

I mean, it's not even mildly arousing. And, to be honest, it translated very poorly/clumsily on screen. Could also be me, after all, because threesomes were never my jam. There, I hope I shocked you enough for today.

On this particular pic, S is elsewhere, de Gouw is ok with it (and that's only natural for her) and Tomlinson is perfectly wooden.

That being said, the Deadline article really piqued my interest. Particularly this:

Again, I hate to quote myself, but I remember having predicted this very early ahead, as a ripple effect of the US strikes. Along with a couple of other particularly relevant things, as far as OL is concerned (https://www.tumblr.com/sgiandubh/731010968623120384/the-ripple-effect?source=share):

In the meanwhile, please continue to play dumb with meaningless promo pics, meaningless Instagram follows & drama and meaningless timelines. You make me cynically 🤣🤣🤣, Anon.

Yeah. The nutcase. Sorry, but I was right again. I know people lie a lot on Tumblr, but I somehow found it charmless and unnecessary. And when I told you I knew what I was talking about, for professional reasons, well... I knew what I was talking about, for professional reasons.

[Edit, for the people in the back]: BECTU (Broadcasting, Entertainment, Communications and Theatre Union) is the UK equivalent of IATSE.

[iww-gnv]

“It’s like The Hunger Games, the AMPTP thinks they can starve us back to work,” said Bectu National Secretary Spencer MacDonald, as around 200 below-the-line workers gathered in London’s Leicester Square this afternoon to urge a swift end to the actors strike. MacDonald was bullish, however, in the face of a possible resolution in the coming days, telling studio bosses across the pond: “Every single time, we win these disputes.” “We need to remind employers that by dragging their heels and digging themselves in all they are doing is digging a bigger hole for themselves,” he added. “And we want to talk about the impact on our membership.” Although unions in the UK are forbidden to join foreign strikes by tight labor laws, a recent Bectu survey found that an incredible 80% of UK crew felt they had been impacted by what is happening in the States, and Bectu has been calling for financial support from the government and AMPTP.

[the-real-zhora-salome]

In the stillness of London’s Harold Pinter Theatre, as David Tennant crouched on stage to deliver a pivotal soliloquy in Macbeth, chaos erupted.

A patron, incensed after being asked to wait before returning to his seat after a loo break, began shouting indignantly from the wings. Demanding immediate access, he disrupted the performance with his cries of, “two hours without a loo break! I paid £250 to see David Tennant in Macbeth and I was really looking forward to it!”

Staff intervened, but the situation escalated when the man shoved security personnel. Frustrated, fellow theatergoers began slow-clapping and chanting “out, out, out!” until he was forcibly removed, booed all the way to the door.

The incident spread rapidly across social media, sparking debates about audience etiquette. One commenter encapsulated the frustration many felt:

"Some people just do not know how to behave in public, and at the theatre, they feel they should be able to get up and move around, talk, and even look at their mobiles. They behave as if they are at home."

Others, however, sought to clarify the sequence of events, pointing to a misunderstanding that framed the outburst. Another user explained:

"The disgruntled ticket holder caused a furore when he was told he would have to wait to return to his seat after returning from the toilet. He wasn’t refused re-admission completely, just asked to wait for a suitable moment to retake his seat. All this person’s rage was because he couldn’t sit back down immediately – he HAD to wait a few minutes."

This raises a troubling question: How could such a minor inconvenience – a short wait for an appropriate pause in the performance – escalate into such aggression? And why does this kind of behaviour seem to be happening in theatres more frequently?

The Macbeth incident is part of a broader trend of escalating audience disruptions. Theatres across the UK have reported an increase in violent, aggressive, and antisocial behaviour since the pandemic.

Earlier this year, a performance of the Bodyguard at Manchester’s Palace Theatre ended in chaos. Audience members, determined to sing over the cast during the final number, sparked a confrontation so intense that the production was stopped and police were called, arriving in riot vans.

Disruptions have ranged from heckling and shouting to physical altercations and even instances of public urination in seats. One front-of-house worker described to the Guardian how, since the beginning of the pandemic, she and her colleagues have faced escalating violence and abuse, breaking up fights and enduring verbal attacks on a weekly basis.

A recent survey by the Broadcasting, Entertainment, Cinematograph, and Theatre Union (BECTU) found that 90% of theatre workers had experienced or witnessed unacceptable behavior from audiences, with 70% saying such incidents have worsened since the beginning of pandemic.

What’s driving this rise in impatience, aggression, and disregard for others? The answer may lie in the lingering neurological effects of Covid-19 (coronavirus).

Initially dismissed as a result of post-lockdown awkwardness or direct sales of alcohol to audiences at theatres, this behavioural shift now appears to have a biological component. Covid-19, widely understood as a respiratory illness early in the pandemic, is now recognised as a vascular disease that affects multiple systems in the body, including the brain.

Even infections whose symptoms appear ‘mild’ can lead to long-term neurological changes, with symptoms such as emotional dysregulation, impulsiveness, and aggression becoming more common.

Neuropsychiatrist Dr. Adam Kaplin of Johns Hopkins University describes a phenomenon he calls “Covid-induced disinhibition,” in which individuals exhibit drastic personality changes after infection.

According to Kaplin, it is not the virus itself but the immune system’s inflammatory response to Covid-19 that can alter brain function, particularly in areas governing impulse control, empathy, and emotional regulation. These changes can manifest as uncharacteristic aggression, a diminished capacity for social norms, and a skewed sense of entitlement.

Covid isn’t just changing how we feel physically, it’s reshaping how we think and act.

Impatience, like that exhibited by the audience member who refused to wait for an appropriate moment to return to his seat, might seem like a minor issue. But in the context of Covid-19’s neurological impact, it represents something much larger: a fundamental shift in the way we think, process emotions, and interact with the world.

One person’s impatience at a play can be irritating, but in other contexts it can be lethal.

A 2024 study published in Neurology revealed that Covid-19 survivors were 50% more likely to be involved in car accidents compared to those who had never been infected. Researchers compared this increased risk to driving under the influence, linking it to heightened impulsivity and reduced attention spans.

Traffic fatalities in the U.S., which had been steadily declining for decades, have risen sharply since the pandemic. Between 2018 and 2023, speeding-related deaths increased by 21%, while fatalities linked to distracted driving climbed by 16%.

Brain imaging studies have revealed that Covid can thin the gray matter in the frontal and temporal lobes – areas critical to moral reasoning, impulse control, and empathy. Thinning of these areas doesn’t necessarily result in cognitive symptoms or forgetfulness in the early stages. Instead, it often manifests as disinhibition, with individuals exhibiting uncharacteristic impulsivity, poor judgment, or aggressive behaviour that might not seem immediately related to intelligence or memory.

Damage to these regions of the brain can induce what has been called ‘a slow and insidious loss of the capacity for moral rationality’. What begins as disinhibition – minor lapses in patience or self-control – can escalate over time into more sociopathic behaviour, with profound consequences for society at large.

This crisis extends beyond theatre etiquette; it is a public health issue. If the whole of society are experiencing cumulative damage to our nervous systems, the consequences for society, even geopolitics, are cause for alarm. Theatre can lead the way, not only with protecting performers, crew, venue staff and audiences, but in modelling how governments and institutions can prevent further damage to the nation’s health and intellectual capital.

Advocacy groups like Protect the Heart of the Arts argue that addressing these disruptions requires tackling their root cause: COVID itself.

Theatres can lead by example by adopting measures that prioritise clean air and accurate on-site testing.

In 2021, the National Theatre in London upgraded their ventilation with HEPA air filtration. In April 2024, this may have allowed performances to continue when Michael Sheen, the lead actor of Nye, fell ill. Instead of the illness spreading to the rest of the cast, Sheen was replaced with understudy Lee Mungo for several performances.

By contrast, David Tennant’s Macbeth was cancelled for four consecutive performances and returned with the support of six understudies. Other venues can follow suit, combining air quality improvements with on-site molecular testing, like PlusLife, that delivers PCR-level accuracy in minutes.

Audience masking, though politically contentious, is a cost-effective measure that could protect both patrons and performers.

But the responsibility extends beyond theatres.

Governments, institutions, and individuals must recognise Covid’s connection to anti-social behaviour and invest in policies which will curb transmission, including face masks in healthcare settings and on-site molecular testing, such as PlusLife.

If Covid is contributing to the erosion of moral reasoning and impulse control, then preventing further infections isn’t just about health—it’s about preserving the fabric of our social lives.

Theatre has always reflected our individual and collective struggles, and Macbeth itself serves as a cautionary tale about moral decay.

Today, the challenge is to confront the slow erosion of our collective empathy and impulse control, not from ambition, but from infectious disease.

The question cannot be more urgent: if Covid-19 is silently reshaping our brains and behaviours, what kind of society will we become? The answer, as always, lies in our willingness to confront the truth and to act before we find ourselves having lost our grasp on morality – just like the play’s titular character.

[theborderlessworld]

UK Creative Industries’ Union Rings Alarm on Fashion Sector Work

Nearly 80 percent of creatives working in the UK’s fashion sector have felt pressure to work for free, while only 14 percent say they get paid on time for the work that they do, according to a new survey by the country’s creative industries’ union Bectu and its fashion branch, Fashion UK.

The survey highlighted long-standing issues in fashion’s creative sector, whose glamorous veneer rests on the graft of a host of overworked and underpaid stylists, hair and makeup artists, photographers, fashion assistants, as well as many others.

“I’ve had shoes thrown at me, been told certain expenses will be covered and then had the client refuse to pay them. [I’ve worked] 16-hour days during London Fashion Week for as little as £100,” one freelance fashion assistant said in their survey comments.

“The issues uncovered in our survey should ring alarm bells for the industry, with many fashion creatives telling us they don’t see themselves in the industry in five years’ time,” Bectu head Philippa Childs said in a statement.

Source: https://www.businessoffashion.com/news/sustainability/fashion-creatives-union-pay-work/

[rfo-ona]

Британская организация по борьбе с буллингом и харассментом в индустрии развлечений готовится к запуску — её поддержали знаменитости

Речь идёт о CIISA — Управлении по независимым стандартам в творческих индустриях. Концепция родилась ещё в 2021 году после череды серьёзных обвинений в отношении деятелей из сферы искусства. Как сообщает профсоюз Bectu, 92% работниц/ков творческих профессий переживали на личном опыте или видели со стороны проявления буллинга и харассмента на работе. 20% креативных работниц/ков в Британии сталкивались с серьёзными сексуализированными нападениями. Всё это оказывает негативное влияние на ментальное здоровье и ухудшает условия труда.

Сейчас CIISA нужно финансирование для полноценного запуска. Организация будет помогать пострадавшим советами, заниматься медиацией конфликтов, проводить расследования и привлекать к ответственности за плохое поведение на съёмочных площадках, сценах и за кулисами. CIISA охватывает разные индустрии: кино, телевизионную, театральную и музыкальную. Многие уже признали острую необходимость в подобном независимом органе, пишет журналистка Нур Нанджи.

CIISA выпустило открытое письмо с просьбой поддержать проект, чтобы положить конец буллингу и домогательствам. К настоящему моменту его подписали в том числе актрисы Кира Найтли, Кара Делевинь, Рут Уилсон, Кэри Маллиган, Ребекка Фергюсон, Наоми Харрис, Эмиральд Феннелл, Джемма Чан, актёры Гай Реммерс, Джонни Свит, Джошуа МакГуайр, Роб Коузи. Финансовую поддержу организации уже оказали медиакомпании Sky, BBC, ITV, Viacom и Channel 4. Призывает помочь проекту и профсоюз Bectu.

Они пишут на своём сайте, что если всё пойдёт хорошо, то начнут предоставлять услуги уже в конце 2024 года. В случае успеха проект станет образцом для построения в будущем аналогичных организаций и охвата всей мировой индустрии развлечений.

Авторство коллажа и фотографий: Variety/Getty Images (Gareth Cattermole, Dia Dipasupil, Lia Toby)

[petnews2day]

Equity, Bectu Take Late Pay Legal Action Against Mad Dog 2020 Casting

New Post has been published on https://petn.ws/lPcbn

Equity, Bectu Take Late Pay Legal Action Against Mad Dog 2020 Casting

BBC EXCLUSIVE: Mad Dog 2020 Casting, a 25-year-old British agency that supplies background actors to major productions, is facing legal action after failing to pay scores of clients. Equity and Bectu, two of the most prominent UK creative industry unions, are pursuing legal claims on behalf of members who are owed thousands of pounds from […]

See full article at https://petn.ws/lPcbn #DogNews

[thecarrieonokay]

This makes me so mad.

So. Here’s the thing. Out in the real world, I work in film and HETV. In the UK.

The UK film industry is (was) booming. The major US studios (Disney, Warners, Amazon, Netflix etc.) have contracted exclusive use of many of our producing hubs (Pinewood, Leavesden, Shepperton etc.). And they’re so busy that the studios can’t expand at a quick enough rate to keep up with demand.

Since covid, the demand for crew has been so high that people are being employed faster than they can develop the skills they need to do the job. This is creating a lot of- let’s just say- ‘difficult’ new stresses on these major productions.

Not that I’m complaining. Being able to work consistently has been A-mazing. Despite the obstacles of inexperienced production and accounting crew!

Then at the beginning of this year, things started to slow down. New deals were being negotiated here in the UK and the major productions wanted to wait until they knew what was what before going into prep. Then it was time for the writers in the US… by May there were only a handful of productions moving forward- only those who had a locked-in script or were so ahead in prep, they figured any changes could be made closer to shoot (when the strike would presumably be over).

Then it was SAG-AFTRA’s turn and everything ground to a halt.

Here’s the thing. Everyone I know is out of work. Literally everyone. We support the strikes because of course we do. They’re fighting for what we would be fighting for if we could (we can’t btw- our union laws are draconian and not everyone is a union member here like they are in the US… mainly because we have healthcare and pensions regardless). But we’ve been months without work. People are loosing their homes. And because we’re in the UK WE WONT BENEFIT FROM THE STRIKES.

And to be clear. We are legally not allowed to strike in solidarity with the US unions. The strike is legal in the US by US law and on US soil only. That’s it. Anyone in film working on a UK equity or bectu contract can be sued for breach of that contract if they stop work. Equity has been hosting sister rallies… that’s all we can do.

We can’t help. We can’t win. We only lose.

I’ve also been reading a lot of articles over here about how great this is for independent films to finally get a foot in to be able to shoot in aaall the free stages that have suddenly become available. But here’s the thing- they can’t because the studios have dominion over all those stages and they’re holding them for alllll the productions currently on ‘hiatus’. I heard last week that there is a backlog of 15 films waiting to move into Leavesden. No indie film is gonna get a foot in anywhere.

Not to mention, even if they did, indie films only employ about a third the workforce of a major U.S. production. That’s still a shit load of crew out of work.

And I’m not sure it’s clear in any media how much of a global problem this is. I read an article from a U.S. publication last week that listed four major films that had shut down. Nowhere did it mention that ALL FOUR were shooting in the UK.

So when I read something like the above, it makes me want to hit things. The studios could end this. This is a WORLDWIDE shutdown. Hundreds of thousands of people are out of work. They could end it but they won’t. Because this could set the precedent for decent working conditions for all of us?

Sorry for the rant but… yeah. I’m mad.

[riddle-me-bitch]

My union is so fucking useless, I just looked up their statement on Palestine and they don’t have a fucking spine. It’s such a bullshit centrist take to have.

“The TUC sends our solidarity to all Israelis and Palestinians who have been affected by this appalling violence and our condolences to those who have lost family and friends. We are alarmed by the escalation in antisemitism and anti-Muslim racism and oppose those who are using these events to stir up division in the UK.”

Not even their own views, just regurgitating what the TUC has said.

All of this after doing almost nothing during the sag/wga strikes. “wE sTaNd In SoLiDaRiTy” why am I paying £20/month for this bullshit.

Grow a fucking spine BECTU.

[qudachuk]

BBC should have investigated after managers were told Russell Brand exposed himself, union says.

[iww-gnv]

SAG-AFTRA’s Duncan Crabtree-Ireland has acknowledged “significant economic consequences” impacting workers around the world due to the strikes, while the boss of British Equity said his union is prepared to enter disputes if U.S. producers try to recast roles with UK actors. Speaking on a webinar alongside Equity boss Paul Fleming and broadcasting union Bectu chiefs, Crabtree-Ireland said he recognizes that AMPTP members are “global businesses that have global presences around the world,” and that “members are hurting” outside the U.S. But Crabtree-Ireland, SAG’s National Executive Director and chief negotiator, laid the blame squarely at the AMPTP’s feet. “The only reason these strikes are happening is these companies refuse to make fair and respectful deals with our members,” he declared. “There was no need for a strike, and I have been told that by members of the public when they see what our proposals are and really understand what we are fighting for.”

[Read the rest]