FIRST IT WAS QUIET QUITTING, NOW WORKERS ARE FACING OFF WITH THEIR BOSSES - Kanebridge News
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FIRST IT WAS QUIET QUITTING, NOW WORKERS ARE FACING OFF WITH THEIR BOSSES

Employee frustrations impact productivity and worker retention, Gallup says

By LINDSAY ELLIS
Thu, Jun 15, 2023 1:47pmGrey Clock 3 min

More and more Americans aren’t feeling great at work.

Half of workers aren’t engaged on the job, putting in minimal effort to get by, according to research by Gallup released Tuesday. Employee engagement in the U.S. declined for the second year in a row. There is also a growing share of the workforce that is disengaged, or resentful that their needs aren’t being met. In some cases, these workers are disgruntled over low pay and long hours, or they have lost trust in their employers.

“Employers are just not as in touch with employees,” said Jim Harter, chief workplace scientist at Gallup and lead author on the report. Some of the recent shift in attitude stems from workers having unclear expectations from their managers.

Workers’ frustrations have been building since 2021, after Gallup-measured U.S. worker-engagement levels hit their highest level on record in 2020. In the spring and summer of 2020, as Covid-19 spread and there was social unrest in the wake of George Floyd’s murder, executives at many companies had town halls and listening sessions with employees, communicating organisational mission and keeping workplace relationships strong.

This year, more companies are trying to bring workers back to offices as bosses fret about worker productivity and loyalty.

Gallup surveyed more than 60,000 people in the U.S. to compile the report, which has tracked Americans’ sentiment about their jobs since 2000, and says engaged workers are more productive and tend to stay at their jobs for longer.

“If you feel like your employer isn’t giving you what you need to do your work, you’re going to be much less loyal—and looking for other work,” said Harter.

The remote work divide

Gallup’s findings come amid backlash from workers, many of whom have recently stepped up protests against in-office requirements as companies change pandemic-era policies.

Workers at insurer Farmers Group called to unionise, and some pledged to quit after a new chief executive said he would require most workers to be in-office three days a week. Amazon.com workers demonstrated at lunch recently against a hybrid-work policy with three days in the office a week.

An employee’s relationship with a direct boss is more important to engagement than where people work, said Harter. One way to build these connections is for managers to have meaningful conversations with their employees, preferably at least once a week.

Working on trust

Many employees see shifts away from flexible schedules and remote work options as a signal that executives don’t trust them to do their jobs outside of the office. Others say benefits to remote work they experienced during the pandemic, including more time with family and cutting back commutes, are now critical to their happiness.

The employers making more in-office work a requirement are, in part, motivated by trying to bolster workers’ loyalty, which they correlate with longer retention, said Katy George, a senior partner and chief people officer at McKinsey & Co.

Kyle Pflueger, 34 years old, was hired in 2020 to work remotely as a product manager. He met his co-workers in person just a few times over the years and never felt fully connected to his work or colleagues, but as the breadwinner for his family, he needed the pay, retirement benefits and health insurance.

Pflueger left his full-time job this month to focus on his independent projects.

“I wasn’t feeling particularly happy with the work that I was doing,” he said. He now works full time for himself, building and maintaining websites for businesses.

Looking for less stress

Workers also said they were more stressed this year than last, according to Gallup’s survey. American workers are among the most stressed, tied with workers in Canada and parts of East Asia.

Workplace stressors include low salaries, long hours and a lack of opportunity for advancement, according to an October report from the U.S. Surgeon General. The report also warned that workplace stress can be bad for mental health, disrupt sleep and raise one’s vulnerability to infection.

Michele Spilberg Hart, who directs marketing for a Boston-area health nonprofit, said that she has told her staff to take time off when they aren’t feeling well mentally or physically. Their work isn’t life-or-death, and taking breaks can help people come back with more energy and better ideas, she said.

“They cannot do good work and be healthy if they’re not taking care of themselves first,” she said. “If you don’t take care of yourself, nobody else will.”



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Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.

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Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.

By Kyle Smith
Thu, Mar 20, 2025 3 min
Even in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.

Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.

Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.

Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”

After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.

Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.