A number of people who received story credits on The Lion King might not see their names on Disney’s new “live-action” remake. The original 1994 film was made outside of Writers Guild of America jurisdiction, according to The Hollywood Reporter, and as such, the writers did their work under the supervision of the Animation Guild—which, unlike the W.G.A., offers fewer protections and no residuals. As one might imagine, some of the original Lion King artists and writers are less than pleased with this outcome.

As seen in the remake’s instantly viral trailer, the film appears to be a beat-for-beat re-creation of the original. But thanks to decisions made decades ago, several storyboard artists with writer credits on the first film might see no credit or compensation for the work that the new one will ostensibly re-tread. Per T.H.R., this whole mess can be blamed on an incident from 1938, when the National Labor Relations Board denied a studio challenge to a nascent predecessor of what is today the W.G.A. But curiously, the board left Disney out of the decision—without any written explanation as to why. A year later, when the N.L.R.B. weighed a similar challenge to an early version of the Animation Guild (T.A.G.), its response was more lax in terms of who should receive credit for story ideas.

Now, as T.H.R. notes, above-the-line guilds offer far more protections for their members than below-the-line guilds; writers, actors, and directors usually receive residuals when their work is re-used, while below-the-line workers rarely do. And when residuals do go to below-the-line crew members who are part of the International Alliance of Theatrical Stage Employees, they are paid to the union’s collective pension and health plans, not to the workers themselves. This disparity is why writers for The Simpsons eventually went to the W.G.A. for representation, rather than T.A.G.—a decision that became precedent-making, T.H.R. notes. The W.G.A. currently covers animated series such as recent hit BoJack Horseman.

“It’s truly ridiculous that animation directors and writers are not covered by the D.G.A. and Writers Guild,” one animation veteran told T.H.R. Linda Woolverton, who received a shared screenplay credit on the original Lion King and received a royalty from the Broadway adaptation of the film, told the publication that she was not permitted to participate in the remake of the film, adding that she has diversified her work beyond animation, in part, because of the lack of consistent benefits like residuals. Things become even more complicated when one considers the fact that, as T.H.R. reports, a lot of the V.F.X. artists employed on the remake are likely not part of any union.

As Disney continues its remake spree, with not only Lion King, but also Aladdin and Dumbo due out this year, the question of credits and residuals seems guaranteed to come up again—and something tells us it’ll take more than a quick “Hakuna Matata” to ease the tension.

When reached for comment, a representative for the W.G.A. told V.F., “We’re in the process determining Guild coverage on this film.”

Representatives for Disney and T.A.G. did not immediately respond to V.F.’s requests for comment.