President’s Message
Status of the Artist, Now.
September 3, 2026
ACTRA Toronto President Kate Ziegler and Executive Director Rob Halpin in conversation about Status of Artist protections, and why Now.
Kate: When I became President of ACTRA Toronto I vowed to reach, through one-on-one conversations, meetings and events, one thousand members within my first term.
I’ve lost track of how many conversations I’ve had along the way – it may in fact be well over a thousand conversations, but what I can definitively say is the sentiments you have shared with me, have stayed with me.
You, the members of ACTRA Toronto, are tenacious in pursuit of your livelihood, you are clear and creative and routinely demonstrate a willingness to get involved with your union.
At the same time, we’ve talked about the struggles many of us are having, the fears we have about the future of filmmaking and commercial work, the overreach of techno-capitalism and punitive trade policies, the seeming limited viability of getting cast in foreign productions and the decades of decline in Canadian cinema.
This combination of vibrant, inspired, determined performers seeking answers and solutions to the problems that feel out of our control, is what has led us to a bold yet achievable campaign, for Status of the Artist legislation in Ontario.
I sat down with our Executive Director Rob Halpin to seek answers for some questions that may be on your mind, as they have surely been on mine:
Kate: Rob, as plain as you can, what does Status of the Artist mean?
Rob: At its simplest, it means recognizing that performers are workers and making sure the law protects them like workers. Our industry is rather unusual; performers move from production to production and employer to employer. Status of the Artist legislation would recognize that reality and give artists a clear legal framework to bargain collectively for minimum terms and conditions of work across film, television and the commercial sectors.
Kate: Is this the same kind of legislation they have in Quebec? If not, how would ours differ?
Rob: Quebec gives us a very important model because it recognizes the unique way artists work and gives artists’ associations collective bargaining rights. But we’re not proposing that Ontario simply copy and paste Quebec’s law. In fact, much of what we are proposing already exists in the Federal Statute. We want legislation designed for Ontario’s film, television and commercial industries and informed by what we’ve learned from decades of collective bargaining right here in Ontario. The principle is the same: artists deserve meaningful collective bargaining rights, even when they don’t fit neatly into a traditional employee model.
Kate: And in my opening remarks I said this is bold AND achievable, do you agree?
Rob: Absolutely. It’s bold because it would change the legal framework performers work under. But it’s achievable because we’re not inventing a new concept. Versions of Status of the Artist and sectoral bargaining already exist elsewhere in Canada and even here in Ontario. Our job is to build the political and industry coalition necessary to make a made in Ontario model happen and happen now!
Kate: You mentioned Sectoral Bargaining, for those who may not be familiar, how does that work?
Rob: Traditional bargaining often happens employer by employer. Sectoral bargaining establishes minimum standards across an entire industry or defined sector. So instead of a producer or an advertising agency gaining a competitive advantage by paying performers less or avoiding a collective agreement, there is a common floor. Producers and advertising agencies can compete on creativity, quality and efficiency, but not by driving down performers’ working conditions and wages.
Kate: Our Labour Day t-shirts say, Status of the Artist NOW! I think we both have ideas about why now, I’ll say this:
I think we have a tremendous amount of leverage right now, politically and culturally. People who have never stepped foot on a set are worried about what is happening to our jobs as performers. I felt that at the Canadian Labour Congress meetings in May, I feel it when I speak to people about what we do and how we are the only sector in the country that allows minors to work, and I know it by the way people responded to the Rogers campaign with John Krasinski, and the way AI is destroying art. People care about Canadian art and want to ensure they have stories told back to them about life here at home.
I also assert, it is incumbent on the government to step in and do something to protect those who contribute to a multi-billion-dollar sector that generates 40k stable, good paying, union jobs, in this province alone. I think our members are fed up with the status quo and are looking for their union to take a strong position to defend their livelihood – which is all I have wanted to do as a leader and you have repeatedly told me that getting some big wins for our members is your primary goal. So yes, Status of the Artist NOW.
I put the same question to you, what makes 2026 the right time to pursue something this ambitious?
Rob: The time is Now! Really because several things have all come together at once. We have disruption from AI, pressure on Canadian cultural sovereignty, changing production models, and a commercial sector where we’ve seen just how vulnerable performers can be when employers can simply walk away from a bargaining relationship.
And there’s a larger conversation happening about protecting Canadian jobs and Canadian culture. If governments are asking what they can do to strengthen Canada economically and culturally, then protecting the people who create Canadian culture, must be central in that conversation.
For me, the question isn’t why Status of the Artist Now? We know now is the time, our members know now is the time. Let’s go get it!
Kate: I was listening to a podcast recently that talked about other countries where sectoral bargaining is normalized but that isn’t really the case in Ontario – yet. First off, can you define how sectoral bargaining works? And then a follow up question to that would be, how do we get it? Like, who grants us the right, and do we have any allies we can call on to support our bid?
Rob: Before I answer this one, I want to note that it may not be widely known but we have two powerful examples of sectoral bargaining in Ontario, one is the nurses and the second is the construction trades. One reason the construction trades is particularly relevant to us is that they have a similar employer model as we do – different site, different set, same job.
Sectoral bargaining means establishing enforceable minimum terms across a defined sector like film and television, videogames, or the commercial sector, rather than having workers start from zero with every individual employer.
And how do we get it? Ultimately, this requires the Ontario government to legislate it. So, this is a political campaign as much as it is an industrial one.
That’s why coalition-building matters. That’s why we’re talking to labour, other arts and entertainment unions, producers who want a level playing field, cultural organizations, employers who already operate responsibly, and anyone concerned about the future of Canadian culture.
The argument to government is straightforward: good employers shouldn’t be put at a competitive disadvantage for doing the right thing, and performers shouldn’t lose basic protections simply because of the unusual way our industry hires people.
Kate: A question I got from a member was about how this legislation could impact members day to day?
Rob: I’d sum it up like this: We want an Ontario framework that establishes enforceable minimum standards across the entire sector and that removes the economic incentive to undercut professional performers by going non-union. We will have to fight for that, as you can imagine, every employer may not want to give up what they believe to be that ‘flexibility’. We know that ACTRA Toronto members are the top talent in the land. Let’s make sure every producer knows that too.
Then ACTRA isn’t competing with a cheaper, unprotected version of the same workforce. Our agreements, our organizing and Status of the Artist legislation can work together.
And the measure of success is very practical: more work under union agreements, more bargaining power for performers, and fewer ways to undercut the standards our members have spent generations building.
Kate: Okay the last thing to share with people for now is how they can get involved.
- Join the campaign to win Status of the Artist protections now! Sign-up here, endorse the campaign and let your union know you’re with them in this fight.
- Join us at the Labour Day Parade on September 7th at 8:30 a.m. Sign-up here.
- Stay tuned for MPP Outreach Week in October when the House is back in session.
Another question I got was why now vs. any other time over the last thirty years. I’m not a historian but I know we have pooled a number of resources for people to review that should help fill out the context of what we are doing and why NOW is the right time for our Status of the Artist campaign.
For more info click here.
In solidarity,
Kate Ziegler ACTRA Toronto President and
Rob Halpin, ACTRA Toronto Executive Director.