The double bridle adds the curb, which is a leverage bit. It’s also used to receive and channel the horse’s impulsion when generated from the hindquarters, establish lateral flexion of the neck, and bend through the horse’s body when combined with the seat and leg aids.
“The snaffle is used to aid the rider in establishing a consistent and elastic contact with the horse in the forward movement,” says Carbonnel. Let’s start by reviewing the function of the snaffle bit, which is what young horses of all disciplines are normally started in. Rules for using a double bridle can vary according to breed and discipline rule books, so consult your association to be sure you’re in compliance with approved use if you’re planning to show with one. You see the double bridle used in certain disciplines, like saddle seat and upper levels of dressage-usually Third Level and above. Using a double bridle requires a certain level of training-in horse and rider-before it’s introduced. The streamers have refused a key demand of both unions, however: to share streaming viewership data and pay creators more for high-performing shows.“Each bit has a separate function in the horse’s mouth,” explains Carbonnel. The AMPTP said it was “disappointed” that SAG-AFTRA had walked away from the table, and rejected an agreement that provided significant wage increases and protections against AI. “The last time both of our unions struck at the same time, actors and writers won landmark provisions that we all continue to benefit from today – residuals and pension and health funds,” the WGA negotiating committee said in a statement. In a statement, WGA says it stands “solidly behind our union siblings in SAG-AFTRA as they begin their work stoppage.” Both unions have also taken aim at AI, which they fear studios will use to further devalue their work and perhaps replace them altogether. This time around, both unions are battling the rise of streaming TV, which they say has suppressed wages and made it difficult for middle-class creators to sustain a career.
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Together, they won residuals for TV reruns and for broadcast of films on TV, and established the first pension and welfare plan.
In that strike, both the writers and actors were wrestling with compensation issues arising from the dawn of television. The only previous “double strike” - involving both actors and writers - came in 1960, when the Screen Actors Guild was led by Ronald Reagan. The strike is the first under the performers’ film and TV contract since 1980. In response to the AMPTP’s statement, Crabtree-Ireland said at the press conference, “If you think this is a historic proposal, think again.”Īll production under the SAG-AFTRA TV and film contract will immediately halt, bringing projects to a standstill both in the U.S. “The Union has regrettably chosen a path that will lead to financial hardship for countless thousands of people who depend on the industry.” “A strike is certainly not the outcome we hoped for as studios cannot operate without the performers that bring our TV shows and films to life,” the AMPTP said in a statement after the strike was confirmed.
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The Alliance of Motion Picture and Television Producers, which represents the studios, argues it presented a deal that offered “historic pay and residual increases, substantially higher caps on pension and health contributions, audition protections, shortened series option periods, and a groundbreaking AI proposal that protects actors’ digital likenesses for SAG-AFTRA members.” SAG-AFTRA has emphasized the role of artificial intelligence and the transition to streaming in explaining the need for a work stoppage. The union’s contract expired at midnight Wednesday, after having been exended through July 12, and a month of negotiations resulted in little progress on a host of issues. “I cannot believe … how plead poverty, that they are losing money left and right, when they give hundreds of millions to their CEOs.
You cannot change the business model as much as it has been changed and not expect the contract to change too,” she said. “If we don’t stand tall right now, we are all going to be in jeopardy. But, she continued, the SAG-AFTRA contracts haven’t been updated to reflect those advancements. In her impassioned plea, she argued that streaming and artificial intelligence have upended the entertainment industry’s business model. What are you doing? Why are you doing this?’” “At some point you have to say ‘No, we’re not going to take this anymore. “We are being victimized by a very greedy enterprise,” SAG-AFTRA president Fran Drescher said during Thursday’s press conference.
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