23APR

SAG-AFTRA opens the AI royalty fight

3 min read

14:51UTC

Chief negotiator Duncan Crabtree-Ireland told outlets 'airtight AI protections' are a precondition for any longer-term deal; the union resumes talks with studios on 27 April.

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Key takeaway

The first union AI-compensation test that post-dates the Goldman and Stanford displacement findings.

SAG-AFTRA, the US union representing around 160,000 screen actors, television and radio artists, and the Alliance of Motion Picture and Television Producers (AMPTP, the studios' negotiating body) will restart contract talks on 27 April 2026, according to the Hollywood Reporter ¹. Chief negotiator Duncan Crabtree-Ireland told outlets 'airtight AI protections' are a precondition for any longer-term deal.

Central to SAG-AFTRA's demand is the so-called Tilly Tax, a proposed royalty studios would pay every time an AI-generated performer replaces a human actor in a production. The label comes from Tilly Norwood, described in trade-press coverage as a digital AI character whose launch marketing last year crystallised performer fears about wholesale substitution. The mechanism is structurally closer to a music performance right than to a one-off licensing fee: per-use, keyed to a substitution the producer would otherwise make without compensation.

The backdrop is the Writers Guild of America deal on 4 April, in which studios conceded notification on AI training use but refused payment, resolving the solvency crisis while leaving the principle unresolved (ID:EV07). SAG-AFTRA inherits the unresolved fight. Union negotiation leverage depends on the visibility of the substitution; writers are invisible in the final product, actors are not. That asymmetry explains why the WGA settled on notification and the performers' union has held out for payment.

The 10-percentage-point lifetime earnings cost Goldman documented for young displaced workers is what the Tilly Tax is trying to price at point of replacement. The 27 April session is the first collective-bargaining test of whether performers can establish a per-use compensation mechanism before that compounding sets in. The Tilly Tax is structurally distinct from a one-off licensing fee: it routes value back to the substituted party at point of use, which is what per-rerun performer residuals did for television in 1948.

If a Tilly Tax survives the 27 April session in any form, other performer unions internationally gain a bargaining template. If it does not, the AI-replacement right becomes a 1948-style unsettled dispute with no precedent to lean on, at the moment Meta, IBM and the Indian Big-4 are writing the displacement pipeline the Tilly Tax would have taxed.

Deep Analysis

In plain English

SAG-AFTRA is the main union for film and TV actors in the United States, representing about 160,000 members. It will resume contract negotiations with the major Hollywood studios on 27 April. The central demand is called the Tilly tax, named after a fictional AI-generated performer called Tilly Norwood. The idea is that whenever a studio uses an AI-created character to replace what would previously have been a human actor, SAG-AFTRA wants the studio to pay a royalty each time the AI performer appears commercially, not a one-off licence. The writers' union (WGA) settled a deal earlier in April that resolved its members' health fund problems but did not win compensation when studios use writers' scripts to train AI. SAG-AFTRA is taking on that unresolved question at the 27 April session.

What could happen next?

Precedent
If SAG-AFTRA establishes a per-use AI replacement royalty in a major studio contract, the mechanism becomes available as a template for performer unions in the UK, Australia, and Canada, all of which have active AI negotiations underway.
Risk
Studios that trained AI models on pre-2026 performance footage before any contractual obligation existed face retroactive exposure if SAG-AFTRA's Tilly tax language includes a backward-looking training-use provision, the same gap the WGA declined to fill in its April deal.

Source Landscape

This story draws on neutral-leaning sources

Primary parallel: In 1948-1952, SAG negotiated per-rerun payments for television rebroadcasts of films originally produced for theatrical release. Studios argued that performers were paid once at production and had no further claim on reruns. SAG held that each broadcast constituted a new commercial use of the performance. That per-use payment principle, won in 1952, is the exact principle the Tilly Tax extends to AI-generated replacement.

Counter-parallel: The AFTRA merger with SAG in 2012 was partly driven by the failure of separate union structures to maintain consistent digital-rights language across television (AFTRA jurisdiction) and film (SAG jurisdiction). The merged union still took eleven years to produce the current AI negotiating push, showing that institutional consolidation does not automatically accelerate contractual innovation.

Consensus view: Georgetown Law's Mark MacCarthy, whose work covers platform labour and intellectual property, argues the Tilly Tax is mechanically closest to a performance royalty rather than a licensing fee.

Under US copyright law, a human performer's likeness has no automatic copyright protection; the right to compensation requires either a contract or a statutory right. SAG-AFTRA is attempting to create a contractual per-use right that functions like a public-performance royalty, which would be novel in US entertainment law.

Counter-view: The studios' position, relayed through AMPTP spokespersons before the 27 April session, holds that an AI-generated performer trained on a specific actor's likeness is governed by existing right-of-publicity law, which is state-specific and uneven.

California, New York, and Texas have right-of-publicity statutes, but a federal contractual overlay through union negotiations would create a new category of per-use compensation without congressional action, which studios argue exceeds what collective bargaining can establish.

Key tension: Whether SAG-AFTRA can use contract law to create a per-use royalty mechanism that right-of-publicity statutes have not established, and whether that mechanism survives if studios challenge it in federal court after signing.

Sources:Hollywood Reporter

Mentions:SAG-AFTRA →AMPTP →Duncan Crabtree-Ireland →Tilly Norwood →Writers Guild of America →Meta →Hollywood Reporter →Texas →Prima →California →India →United States →IBM →Tilly Tax →

First Reported In

Update #7 · Meta codes its own org chart

Hollywood Reporter· 23 Apr 2026

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